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The Countenance Divine
An ambitious, engrossing and multi-layered debut novel
'Michael Hughes writes like a brilliant cross between David Mitchell and Hilary Mantel' Toby Litt
In 1999 a programmer is trying to fix the millennium bug, but can't shake the sense he's been chosen for something.
In 1888, five women are brutally murdered in the East End by a troubled young man in thrall to a mysterious master.
In 1777 an apprentice engraver called William Blake has a defining spiritual experience; thirteen years later this vision returns.
And in 1666, poet and revolutionary John Milton completes the epic for which he will be remembered centuries later.
But where does the feeling come from that the world is about to end?
Biographical Notes
Michael Hughes was born and raised in Keady, Northern Ireland, and now lives in London. He attended St Patrick's Grammar School, Armagh, and read English at Corpus Christi College, Oxford. He trained in theatre at the Jacques Lecoq School in Paris, and has worked for many years as an actor, under the professional name Michael Colgan. He studied creative writing at Royal Holloway, and at London Metropolitan University, where he also taught. The Countenance Divine is his first novel.
'Michael Hughes writes like a brilliant cross between David Mitchell and Hilary Mantel' Toby Litt
In 1999 a programmer is trying to fix the millennium bug, but can't shake the sense he's been chosen for something.
In 1888, five women are brutally murdered in the East End by a troubled young man in thrall to a mysterious master.
In 1777 an apprentice engraver called William Blake has a defining spiritual experience; thirteen years later this vision returns.
And in 1666, poet and revolutionary John Milton completes the epic for which he will be remembered centuries later.
But where does the feeling come from that the world is about to end?
Biographical Notes
Michael Hughes was born and raised in Keady, Northern Ireland, and now lives in London. He attended St Patrick's Grammar School, Armagh, and read English at Corpus Christi College, Oxford. He trained in theatre at the Jacques Lecoq School in Paris, and has worked for many years as an actor, under the professional name Michael Colgan. He studied creative writing at Royal Holloway, and at London Metropolitan University, where he also taught. The Countenance Divine is his first novel.
352 pages, Hardcover
First published August 11, 2016
16 people are currently reading
789 people want to read
About the author
Michael Hughes
2 books4 followersLibrarian Note: There is more than one author in the Goodreads database with this name.
Michael Edward Hughes grew up in a small town in Northern Ireland. A graduate of Oxford, he also trained in theatre at the Jacques Lecoq School in Paris. He has worked for many years as an actor under the professional name Michael Colgan, and he also teaches creative writing. He lives in London with his wife, the acclaimed historian Tiffany Watt Smith, and their two children.
(Source: HarperCollins Publishers)
Michael Edward Hughes grew up in a small town in Northern Ireland. A graduate of Oxford, he also trained in theatre at the Jacques Lecoq School in Paris. He has worked for many years as an actor under the professional name Michael Colgan, and he also teaches creative writing. He lives in London with his wife, the acclaimed historian Tiffany Watt Smith, and their two children.
(Source: HarperCollins Publishers)
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Displaying 1 - 30 of 47 reviews
August 18, 2016
This is an ambitious debut novel, which links four different time periods in an end of the world fantasy. We begin with Chris Davison, a computer programmer in 1999. He works for a company who are attempting to cope with the predicted chaos of the millennium bug and, one day, on his way to work he buys a Practical Rebus in Brick Lane market. Chris is fairly happy with his lot, but is unsettled by his new workmate, Lucy. Lucy is a Goth, who introduces him to “From Hell,” a graphic novel about Jack the Ripper, and suggests she is involved in a group who intend to unleash something during the New Year.
The group that Chris finally meets, including the enigmatic Oliver, ask if he has heard of Jack the Ripper, William Blake and John Milton and it is their stories which join that of Chris in this novel. We have letters from Jack the Ripper, describing his killings, plus the journal of Thomas Allgood, who was John Milton’s servant, as well as a spy placed in his household, and also narration by William Blake.
This is a book of poetry, creation, obsessions and visions of the end of the world. The author does a good job of tying in the different time periods – 1666, 1777, 1888 and 1999. As far as the narration is concerned, I felt that the voices of Allgood and Chris were the most interesting; while the letters from Jack the Ripper the least authentic in tone. Ultimately, though, I found this a rather confusing, and unsatisfying, read. Still, the writing was good and the beginning certainly drew me in, even if I got a little lost in the middle. An interesting and ambitious debut which promises much from this new author.
The group that Chris finally meets, including the enigmatic Oliver, ask if he has heard of Jack the Ripper, William Blake and John Milton and it is their stories which join that of Chris in this novel. We have letters from Jack the Ripper, describing his killings, plus the journal of Thomas Allgood, who was John Milton’s servant, as well as a spy placed in his household, and also narration by William Blake.
This is a book of poetry, creation, obsessions and visions of the end of the world. The author does a good job of tying in the different time periods – 1666, 1777, 1888 and 1999. As far as the narration is concerned, I felt that the voices of Allgood and Chris were the most interesting; while the letters from Jack the Ripper the least authentic in tone. Ultimately, though, I found this a rather confusing, and unsatisfying, read. Still, the writing was good and the beginning certainly drew me in, even if I got a little lost in the middle. An interesting and ambitious debut which promises much from this new author.
February 21, 2017
I've done it. I've committed to the five stars.
This genre-defying book, with one of the most beautiful covers I have ever seen, spans four time periods. In 1999, a computer programmer, Chris, is trying to fix the Millennium Bug while also trying to figure out himself, as he secretly belives himself to be chosen for something important, and his colleague Lucy, who is working on a mysterious art project. In 1888, Jack the Ripper stalks the back alleys of London, following the instructions of his master. In 1777, William Blake, poet and engraver, has a spiritual vision, and believes that he can resurrect Milton. In 1666, John Milton finishes reciting his epic, by which he will be remembered forever, but the air is thick with Popish plots and Restoration fears, not to mention the smoke from the Great Fire of London.
I loved the different strands, and the way in which they bleed into one another, treading a fine line between reality and fantasy, and constantly circling back to the idea of the return of Christ and the end of the world. 'The Countenance Divine' is a thoroughly enjoyable and engaging read, with a fascinating and original plot shrouded in mystery and ambiguity.
I would highly recommend this weird and wonderful book, and am extremely lucky to have won this uncorrected proof in a Goodreads giveaway.
This genre-defying book, with one of the most beautiful covers I have ever seen, spans four time periods. In 1999, a computer programmer, Chris, is trying to fix the Millennium Bug while also trying to figure out himself, as he secretly belives himself to be chosen for something important, and his colleague Lucy, who is working on a mysterious art project. In 1888, Jack the Ripper stalks the back alleys of London, following the instructions of his master. In 1777, William Blake, poet and engraver, has a spiritual vision, and believes that he can resurrect Milton. In 1666, John Milton finishes reciting his epic, by which he will be remembered forever, but the air is thick with Popish plots and Restoration fears, not to mention the smoke from the Great Fire of London.
I loved the different strands, and the way in which they bleed into one another, treading a fine line between reality and fantasy, and constantly circling back to the idea of the return of Christ and the end of the world. 'The Countenance Divine' is a thoroughly enjoyable and engaging read, with a fascinating and original plot shrouded in mystery and ambiguity.
I would highly recommend this weird and wonderful book, and am extremely lucky to have won this uncorrected proof in a Goodreads giveaway.
May 19, 2016
A genre-defying novel with multiple timelines - from the 17th century to the 20th - that converge in a fantastical alternate-history climax. Real historical figures appear in the story, and they're given surprisingly authentic voices, but the best plot strand involves Chris, a young computer programmer who's working to eradicate the millennium bug and has a crush on/obsession with a coworker. Comparisons to David Mitchell are accurate; the later parts in particular gave me distinct
Slade House
vibes. To that, I'd also add references to Keith Ridgway's
Animals
and the fiction of Scarlett Thomas. The Countenance Divine is smart (and obviously meticulously researched) but always easily comprehensible, cleverly laced together, unique. I didn't feel at all like reading when I read it, yet I was captivated.
July 20, 2016
* I was sent this book from the publisher in exchange for an honest review *
So I really wasn't entirely sure what I was getting when I asked for this book. All I knew was that the cover looked really cool, the premise sounded crazy, and I was definitely intrigued. Honestly, even having read the book, I won't pretend I fully understand it all. It's beautiful, and poignant, brutal, bloody and messy, and it's definitely a book which I really liked reading...but ask me what it's about and it's a bit hard to explain.
Basically this book is told with four different story timelines which all have small links between them. In the year 1999 we follow Chris who is a computer programmer working to try and solve the Millennium crises for computers. He's a fairly normal guy at first, but as his story continues and he meets Lucy, things start to get more and more interesting and far-out for him.
Next up we jump to 1888 where we see the character of Jack the Ripper and follow his letters about the murders he conducts. His sections were some of the most brutal, nasty and also most interesting for me becuase they hold a bleak fascination and they were written phonetically too. I really found myself drawn into the mind of this crazy killer (very scary) and it wasn't a nice place to be (but it was enthralling).
Then we go back to 1777 where we encounter William Blake, a man who believes he's had a spiritual moment and as his life unfolds we see this vision unfold too. Blake is captivated by the ideals of John Milton, and he seeks to bring back Milton's essence in some dark ways.
Finally we land back in 1666 where we follow John Milton's assistant as he tries to assist a man composing a great epic. This poem will be the one many remember Milton for, and along with the whims of a master, the assistant has to deal with the Great Fire of London. Quite a lot to contend with!
In terms of writing style it's a little confusing at first, but I quickly settled into the rhythm for each narrative voice and I think they are distinct enough that you can tell what time you're reading about. The story does focus a lot on God and religion and spiritual moments and visions (as the title and cover suggest) and this raises lots of interesting questions and makes you think. I definitely enjoyed seeing the ways that small things from each story connected, and how it all came together in the end...
Certainly a book which I think it's best to just dive into and enjoy, and it's one which I felt a lot of enjoyment, confusion and awe whilst reading. I would say if the ideas intrigue you, then you may well like this, but it's more of a speculative book than a purely fantasy or sci-fi in my opinion. 4* overall!
So I really wasn't entirely sure what I was getting when I asked for this book. All I knew was that the cover looked really cool, the premise sounded crazy, and I was definitely intrigued. Honestly, even having read the book, I won't pretend I fully understand it all. It's beautiful, and poignant, brutal, bloody and messy, and it's definitely a book which I really liked reading...but ask me what it's about and it's a bit hard to explain.
Basically this book is told with four different story timelines which all have small links between them. In the year 1999 we follow Chris who is a computer programmer working to try and solve the Millennium crises for computers. He's a fairly normal guy at first, but as his story continues and he meets Lucy, things start to get more and more interesting and far-out for him.
Next up we jump to 1888 where we see the character of Jack the Ripper and follow his letters about the murders he conducts. His sections were some of the most brutal, nasty and also most interesting for me becuase they hold a bleak fascination and they were written phonetically too. I really found myself drawn into the mind of this crazy killer (very scary) and it wasn't a nice place to be (but it was enthralling).
Then we go back to 1777 where we encounter William Blake, a man who believes he's had a spiritual moment and as his life unfolds we see this vision unfold too. Blake is captivated by the ideals of John Milton, and he seeks to bring back Milton's essence in some dark ways.
Finally we land back in 1666 where we follow John Milton's assistant as he tries to assist a man composing a great epic. This poem will be the one many remember Milton for, and along with the whims of a master, the assistant has to deal with the Great Fire of London. Quite a lot to contend with!
In terms of writing style it's a little confusing at first, but I quickly settled into the rhythm for each narrative voice and I think they are distinct enough that you can tell what time you're reading about. The story does focus a lot on God and religion and spiritual moments and visions (as the title and cover suggest) and this raises lots of interesting questions and makes you think. I definitely enjoyed seeing the ways that small things from each story connected, and how it all came together in the end...
Certainly a book which I think it's best to just dive into and enjoy, and it's one which I felt a lot of enjoyment, confusion and awe whilst reading. I would say if the ideas intrigue you, then you may well like this, but it's more of a speculative book than a purely fantasy or sci-fi in my opinion. 4* overall!
May 23, 2016
"Everything's made of something else. We all have bits of the past rattling around inside us."
It's hard to describe this book: I guess an apocalyptic fantasy. At its heart is a pattern of events that take place in 1666, 1777, 1888 and, in the 'present', 1999, which link together John Milton, William Blake, Jack the Ripper and a computer programmer called Chris working on fixing the Millenium Bug.
Hughes has made the effort to capture voices: the laconic Chris, the only-just-literate Jack, though is perhaps less successful with Blake and a contemporary of Milton. As visions and hallucinations merge with the macabre and grotestque, we're left with something which is part modern horror, part historical novel and part fevered fantasy.
It probably helps if you're familiar with Milton's Paradise Lost and Blake's The Marriage of Heaven and Hell, as well as his engravings based on Milton's epic - though you could get by without. An original story which mixes up some familiar elements in novel ways - 3.5 stars rounded up to 4.
It's hard to describe this book: I guess an apocalyptic fantasy. At its heart is a pattern of events that take place in 1666, 1777, 1888 and, in the 'present', 1999, which link together John Milton, William Blake, Jack the Ripper and a computer programmer called Chris working on fixing the Millenium Bug.
Hughes has made the effort to capture voices: the laconic Chris, the only-just-literate Jack, though is perhaps less successful with Blake and a contemporary of Milton. As visions and hallucinations merge with the macabre and grotestque, we're left with something which is part modern horror, part historical novel and part fevered fantasy.
It probably helps if you're familiar with Milton's Paradise Lost and Blake's The Marriage of Heaven and Hell, as well as his engravings based on Milton's epic - though you could get by without. An original story which mixes up some familiar elements in novel ways - 3.5 stars rounded up to 4.
February 26, 2018
Initially this book filled me with intrigue as it began its journey through four different time periods. However as I progressed I became more and more dissatisfied with the development of characters, relationships and intrigue.
To put it simply, there was none.
Instead the stories seemed to be a vehicle for the sick imagination of the author to further denigrate the victims of Jack the Ripper until, ultimately, the story collapsed completely.
Much like the Millennium bug that is a key plot element of one of the storylines this book threatened much but actually achieved nothing.
To put it simply, there was none.
Instead the stories seemed to be a vehicle for the sick imagination of the author to further denigrate the victims of Jack the Ripper until, ultimately, the story collapsed completely.
Much like the Millennium bug that is a key plot element of one of the storylines this book threatened much but actually achieved nothing.
November 23, 2018
I was confused throughout. Interlocking tales on Milton, Blake, Jack the Ripper and a computer programmer. I am sure there was a point I just didn’t care.
April 10, 2017
I received this book through the Goodreads Giveaways Program, and while my review is subjective, I have tried my best not to let this influence the review of this book and hope this come across in the reading of it. I finished this book ages ago, and here is finally a review.
First off, let me say that this book has been really well researched. It is written in small episodes which take place in four different centuries; the seventeenth, eighteenth, nineteenth, and twentieth. The main characters in the different centuries are John Milton (based on the poet), Will Blake (based on the poet), a letter writer (based on Jack the Ripper), and Chris Davison (a computer programmer).
I found it a little difficult to keep my attention on the plot all the way through. The chapters jump back and forth between the centuries, and unless you are familiar with Paradise Lost, it will most likely be a difficult read. I loved the beginning of the book, even though the pacing is very slow-paced with several references to Milton’s epic poem. However, the pace stays the same for the larger percent of the book without any obvious character progression, which makes the book difficult to plough through. That is not to say it is poorly written, but that the text is not suited to my tastes. Yet again, the topic is interesting, and it leads me to wonder if perhaps the story was a little ambitious for such a short novel and might have worked better as a longer work?
Michael Hughes has clearly put a lot of research into his work, which shines through in the text. His prose is beautiful and elegant and it was thrilling to see the different styles in each chapter as Hughes utilises a different voice for each of the centuries. This choice is stylistically an interesting one and is essential for the plot, which is trying to figure out if the world is going to end in the year 2000.
The climax Hughes builds up to in the book is slightly disappointing, but I will leave it at that for avoiding spoilers. The copy I received was also an unproofed copy, so I am not sure how close to the final version it is, but the cover design on my copy is absolutely stunning and fits very well with the flowery prose.
What Hughes does with the book is very stylistically interesting. As mentioned previously, we follow four different main characters, (three of which are based on historical, literary figures) in four different centuries and ultimately heads towards the end of the twentieth century. Throughout the course of reading this novel, I found myself wondering why this novel was published now when the main issue that the main characters tackle is related to the turn of the millennia, seventeen years ago, and I still don’t think I have an answer to that.
As for reading this book, I would only recommend it to very specific people. People who have or are studying English Literature or language might find it interesting from an analytical point of view. However, you also need to enjoy reading books that need time to be read.
There are very few female characters that are anything besides background noise in the story. However, I will leave the review off on a note about a particular female character: Lucy. Lucy is a goth who first becomes Chris’s friend, then his love interest (of course). This character seems to be slightly off the rails, which is a whole chapter on its own. However, I shall not delve into that, but my point is that choosing to present Lucy as a gothic woman who is a little crazy is problematic because goths have a bad enough reputation in popular media as it is without another novel reinforcing the stereotype.
First off, let me say that this book has been really well researched. It is written in small episodes which take place in four different centuries; the seventeenth, eighteenth, nineteenth, and twentieth. The main characters in the different centuries are John Milton (based on the poet), Will Blake (based on the poet), a letter writer (based on Jack the Ripper), and Chris Davison (a computer programmer).
I found it a little difficult to keep my attention on the plot all the way through. The chapters jump back and forth between the centuries, and unless you are familiar with Paradise Lost, it will most likely be a difficult read. I loved the beginning of the book, even though the pacing is very slow-paced with several references to Milton’s epic poem. However, the pace stays the same for the larger percent of the book without any obvious character progression, which makes the book difficult to plough through. That is not to say it is poorly written, but that the text is not suited to my tastes. Yet again, the topic is interesting, and it leads me to wonder if perhaps the story was a little ambitious for such a short novel and might have worked better as a longer work?
Michael Hughes has clearly put a lot of research into his work, which shines through in the text. His prose is beautiful and elegant and it was thrilling to see the different styles in each chapter as Hughes utilises a different voice for each of the centuries. This choice is stylistically an interesting one and is essential for the plot, which is trying to figure out if the world is going to end in the year 2000.
The climax Hughes builds up to in the book is slightly disappointing, but I will leave it at that for avoiding spoilers. The copy I received was also an unproofed copy, so I am not sure how close to the final version it is, but the cover design on my copy is absolutely stunning and fits very well with the flowery prose.
What Hughes does with the book is very stylistically interesting. As mentioned previously, we follow four different main characters, (three of which are based on historical, literary figures) in four different centuries and ultimately heads towards the end of the twentieth century. Throughout the course of reading this novel, I found myself wondering why this novel was published now when the main issue that the main characters tackle is related to the turn of the millennia, seventeen years ago, and I still don’t think I have an answer to that.
As for reading this book, I would only recommend it to very specific people. People who have or are studying English Literature or language might find it interesting from an analytical point of view. However, you also need to enjoy reading books that need time to be read.
There are very few female characters that are anything besides background noise in the story. However, I will leave the review off on a note about a particular female character: Lucy. Lucy is a goth who first becomes Chris’s friend, then his love interest (of course). This character seems to be slightly off the rails, which is a whole chapter on its own. However, I shall not delve into that, but my point is that choosing to present Lucy as a gothic woman who is a little crazy is problematic because goths have a bad enough reputation in popular media as it is without another novel reinforcing the stereotype.
August 20, 2016
I'm grateful to the publisher for an advance copy of this book.
This is a complex and many layered first novel from Michael Hughes. It made me think of Umberto Eco's Foucault's Pendulum and Peter Ackroyd's occult London novels such as The House of Doctor Dee and Hawksmoor - but with an extra depth of human sympathy.
The story takes place in and between four different times. In 1666, John Milton is living uneasily under the Restoration, already blind, and trying to complete his visionary Paradise Lost. He enlists the help of Thomas Allgood as his secretary. Allgood narrates what happens next - as well his earlier personal history - via a set of notebooks which turn up in various places throughout the other narratives. To my (non expert!) eye, Hughes has captured the cadences of 17th century English very well - as well as the outlook of a man born Roman Catholic, part of a minority living precariously in a hostile environment, who later converts to a Protestant. The tension in Allgood's spirituality underlies much of what happens and his conversations and debates with Milton - also, of course, out of favour by 1666 - drew me into the narrative: don't be put off by the old fashioned cast to this part of the story, the issues explored are current and the characters touchingly and convincingly portrayed.
The second time period is the 18th century, where in 1777 William Blake (best known now for "Jerusalem" but a poet, artist and visionary with a much greater breadth of achievement) had a spiritual experience. This is renewed in 1790. (Hughes plays a little bit with his timings here in a book which is supposed to be based on recurrences every 111 years but I think he can be forgiven that.)
Blake was for me the most interesting of the protagonists. While Allgood is desperate and acting for pay and Milton resigned from influencing anything and simply wanting to complete his poem (and be remembered) Blake is truly driven. As his part of the story intersects the others we are reminded of the truly radical (and weird) inspiration behind what is now seen a very tame and Hovis-tinged English past. Blake is brought vividly to life and speaks to us, and for that Hughes deserves high praise.
The third of the book's timezones (they're not separate neat sections, they overlap and are nested within each other) is less ecstatic, much nastier: the (semi literate) writings of a nameless individual in 1888 who, we quickly learn, is Jack the Ripper. There are some vivid descriptions of the Ripper murders - be warned this is very strong material indeed, and again Hughes convincingly inhabits the voice of his character, which only adds to the reader's unease. (Hughes is aware of the general fascination with the Ripper murders and the focus on the killer, not on the women he killed - it's mentioned a number of times in the story - and one thing he does do is name Mary Ann Nichols, Annie Chapman, Elizabeth Stride, Catherine Eddowes and Mary Jane Kelly and portray them as real people not just victims).
This thread in the book, which is the briefest (for which I was thankful - it's strong stuff!) is I think the real key to what's going on, the hinge between the "old" and the "new" sections and it also to embody an idea - which is where the similarity with Ackroyd arises - of affecting both the past and the future through sacrifice.
In contrast, the final time period (1999, where a team of programmers are working to address the Millennium Bug) which actually opens the book is easier to engage with, beginning as a more conventional story, focused on Chris and Lucy, both of whom are misfits. The story is told in 100 numbered parts, labelled 01, 02, 03... all the way up to 99 and then reverting to 00, in tribute to the Bug itself. Hughes adopts a very flat style for this part and emphasises Chris social awkwardness: I wasn't sure whether there was meant to be an implication that Chris might be Asperger's or somewhere on the autistic spectrum, but regardless of that it's a bit of a forlorn love story between him and chain smoking goth Lucy. That results in a bit of will-they, won't-they and makes the two characters much more approachable and sympathetic than anyone else in the book.
In the end however, the modernity of this part is very much on the surface with the same preoccupations as the other sections - who or what (God or Devil) governs the world, whether they can be known or trusted, millenarianism, how far our destiny is given (that Bug!) and how far we can shape it or even make it (Chris tells Lucy how he used to believe he was Jesus and the book points out several times that even Jesus didn't know at first that he was Jesus). And the antics of Milton, Allgood, the young Ripper and of Blake prove intimately bound with the lives of Chris and Lucy.
In all this is an exhilarating, compelling novel. It does require a bit of commitment. The different styles are very different and you need to pay close attention, but the book is never less than compulsive. My only criticism - and it is a slight one - is that a great deal is actually explained in the final few pages that might have been left unsaid. But to counterbalance that some mysteries remain, and you can't - in my view - rely on what you're told anyway: prophesy is, in the end, not a science.
This is an excellent first novel, and I'm really looking forward to reading more of Hughes's work.
This is a complex and many layered first novel from Michael Hughes. It made me think of Umberto Eco's Foucault's Pendulum and Peter Ackroyd's occult London novels such as The House of Doctor Dee and Hawksmoor - but with an extra depth of human sympathy.
The story takes place in and between four different times. In 1666, John Milton is living uneasily under the Restoration, already blind, and trying to complete his visionary Paradise Lost. He enlists the help of Thomas Allgood as his secretary. Allgood narrates what happens next - as well his earlier personal history - via a set of notebooks which turn up in various places throughout the other narratives. To my (non expert!) eye, Hughes has captured the cadences of 17th century English very well - as well as the outlook of a man born Roman Catholic, part of a minority living precariously in a hostile environment, who later converts to a Protestant. The tension in Allgood's spirituality underlies much of what happens and his conversations and debates with Milton - also, of course, out of favour by 1666 - drew me into the narrative: don't be put off by the old fashioned cast to this part of the story, the issues explored are current and the characters touchingly and convincingly portrayed.
The second time period is the 18th century, where in 1777 William Blake (best known now for "Jerusalem" but a poet, artist and visionary with a much greater breadth of achievement) had a spiritual experience. This is renewed in 1790. (Hughes plays a little bit with his timings here in a book which is supposed to be based on recurrences every 111 years but I think he can be forgiven that.)
Blake was for me the most interesting of the protagonists. While Allgood is desperate and acting for pay and Milton resigned from influencing anything and simply wanting to complete his poem (and be remembered) Blake is truly driven. As his part of the story intersects the others we are reminded of the truly radical (and weird) inspiration behind what is now seen a very tame and Hovis-tinged English past. Blake is brought vividly to life and speaks to us, and for that Hughes deserves high praise.
The third of the book's timezones (they're not separate neat sections, they overlap and are nested within each other) is less ecstatic, much nastier: the (semi literate) writings of a nameless individual in 1888 who, we quickly learn, is Jack the Ripper. There are some vivid descriptions of the Ripper murders - be warned this is very strong material indeed, and again Hughes convincingly inhabits the voice of his character, which only adds to the reader's unease. (Hughes is aware of the general fascination with the Ripper murders and the focus on the killer, not on the women he killed - it's mentioned a number of times in the story - and one thing he does do is name Mary Ann Nichols, Annie Chapman, Elizabeth Stride, Catherine Eddowes and Mary Jane Kelly and portray them as real people not just victims).
This thread in the book, which is the briefest (for which I was thankful - it's strong stuff!) is I think the real key to what's going on, the hinge between the "old" and the "new" sections and it also to embody an idea - which is where the similarity with Ackroyd arises - of affecting both the past and the future through sacrifice.
In contrast, the final time period (1999, where a team of programmers are working to address the Millennium Bug) which actually opens the book is easier to engage with, beginning as a more conventional story, focused on Chris and Lucy, both of whom are misfits. The story is told in 100 numbered parts, labelled 01, 02, 03... all the way up to 99 and then reverting to 00, in tribute to the Bug itself. Hughes adopts a very flat style for this part and emphasises Chris social awkwardness: I wasn't sure whether there was meant to be an implication that Chris might be Asperger's or somewhere on the autistic spectrum, but regardless of that it's a bit of a forlorn love story between him and chain smoking goth Lucy. That results in a bit of will-they, won't-they and makes the two characters much more approachable and sympathetic than anyone else in the book.
In the end however, the modernity of this part is very much on the surface with the same preoccupations as the other sections - who or what (God or Devil) governs the world, whether they can be known or trusted, millenarianism, how far our destiny is given (that Bug!) and how far we can shape it or even make it (Chris tells Lucy how he used to believe he was Jesus and the book points out several times that even Jesus didn't know at first that he was Jesus). And the antics of Milton, Allgood, the young Ripper and of Blake prove intimately bound with the lives of Chris and Lucy.
In all this is an exhilarating, compelling novel. It does require a bit of commitment. The different styles are very different and you need to pay close attention, but the book is never less than compulsive. My only criticism - and it is a slight one - is that a great deal is actually explained in the final few pages that might have been left unsaid. But to counterbalance that some mysteries remain, and you can't - in my view - rely on what you're told anyway: prophesy is, in the end, not a science.
This is an excellent first novel, and I'm really looking forward to reading more of Hughes's work.
July 9, 2016
The Countenance Divine is Michael Hughes’ first novel, and it’s an ambitious start. Set in four different time periods and told through four very distinct voices, it’s heavily influenced by the work of Milton and Blake, has visionary, macabre and apocalyptic elements and hints of psychogeography. The blurb that accompanied my copy compares it to the work of David Mitchell (to my shame I haven’t ready any David Mitchell, so I couldn't say how accurate I think this comparison is) although it reminded me a little of some of Scarlett Thomas’ books, with elements of Nicola Barker's Darkmans.
The first character we meet is Chris in 1999, a computer programmer working on protecting clients’ systems against the infamous Millennium Bug. Chris’ chapters are narrated in the third person, but the unadorned, blunt clarity of the language here is an obvious reflection of his methodical, logical character and the source of some unexpected humour. Chris holds something of a torch for his colleague Lucy, but is unsettled by the chaos that seems to surround her – her apparent emotional instability, her strange self-destructiveness and her associates with their mysterious underground project whose purpose is not immediately clear. There are some strange echoes in Lucy of the Ripper murders which took place in 1888 in the same part of London, and indeed, it’s Jack that we hear from next, through the medium of his own semi-literate letters.
These letters are every bit as gruesome and chilling as you'd expect, but the more we learn of Jack, the more it becomes clear that someone or something is guiding him. Once again, Hughes gives Jack a highly distinctive voice, so although we learn only a few small details about his background, he quickly becomes a vividly three-dimensional character as he applies his own terrifying rationale to his motives.
It's really when we meet the visionary poet and engraver William Blake in 1777 and an assistant to poet and playwright John Milton in 1666 that The Countenance Divine takes a stranger turn. Blake, prone to hallucinatory visions, is compelled to create a homunculus from one of the dead Milton's ribs; Milton himself, whose elements of the story are told through the diary of his assistant Allgood, is finishing Paradise Lost just as the Great Fire of London destroys the city.
Allgood's diary is written in an exceptionally authentic 17th century style, which is flawlessly done, but also makes these chapters a little hard-going; you will need to invest more time and concentration here.
If you enjoy books which offer neat explanations and satisfying revelations, this is not a novel for you. There are countless hints, clues and allusions throughout, as the four time periods begin to overlap and collide, but they don't lead to any clear conclusion. You'll be left to decide for yourself if the world is really about to end, what's 'real' and what is imagined, and who a figure in a golden mask who seems to exist simultaneously in different times might really be. It's also worth pointing out that I came to this book pretty familiar with the work of both Blake and Milton - if you don't, you will miss out on some of the references. I don't think this will affect a reader's overall understanding, but it won't be quite so rich a reading experience.
This is an exceptionally well-written novel - the four styles Michael Hughes uses are very different, yet each of them is executed brilliantly - which excels in creating a gathering sense of doom, conjuring up the unsettling, oppressive atmosphere of a world, and in particular London, on the brink of catastrophic disaster. If I have a criticism, it's that it's occasionally a little slow, which is always dangerous in a novel that requires attention to detail on the reader's part.
The Countenance Divine will published on 11 August. My thanks to John Murray Press for providing me with a review copy via NetGalley.
The first character we meet is Chris in 1999, a computer programmer working on protecting clients’ systems against the infamous Millennium Bug. Chris’ chapters are narrated in the third person, but the unadorned, blunt clarity of the language here is an obvious reflection of his methodical, logical character and the source of some unexpected humour. Chris holds something of a torch for his colleague Lucy, but is unsettled by the chaos that seems to surround her – her apparent emotional instability, her strange self-destructiveness and her associates with their mysterious underground project whose purpose is not immediately clear. There are some strange echoes in Lucy of the Ripper murders which took place in 1888 in the same part of London, and indeed, it’s Jack that we hear from next, through the medium of his own semi-literate letters.
These letters are every bit as gruesome and chilling as you'd expect, but the more we learn of Jack, the more it becomes clear that someone or something is guiding him. Once again, Hughes gives Jack a highly distinctive voice, so although we learn only a few small details about his background, he quickly becomes a vividly three-dimensional character as he applies his own terrifying rationale to his motives.
It's really when we meet the visionary poet and engraver William Blake in 1777 and an assistant to poet and playwright John Milton in 1666 that The Countenance Divine takes a stranger turn. Blake, prone to hallucinatory visions, is compelled to create a homunculus from one of the dead Milton's ribs; Milton himself, whose elements of the story are told through the diary of his assistant Allgood, is finishing Paradise Lost just as the Great Fire of London destroys the city.
Allgood's diary is written in an exceptionally authentic 17th century style, which is flawlessly done, but also makes these chapters a little hard-going; you will need to invest more time and concentration here.
If you enjoy books which offer neat explanations and satisfying revelations, this is not a novel for you. There are countless hints, clues and allusions throughout, as the four time periods begin to overlap and collide, but they don't lead to any clear conclusion. You'll be left to decide for yourself if the world is really about to end, what's 'real' and what is imagined, and who a figure in a golden mask who seems to exist simultaneously in different times might really be. It's also worth pointing out that I came to this book pretty familiar with the work of both Blake and Milton - if you don't, you will miss out on some of the references. I don't think this will affect a reader's overall understanding, but it won't be quite so rich a reading experience.
This is an exceptionally well-written novel - the four styles Michael Hughes uses are very different, yet each of them is executed brilliantly - which excels in creating a gathering sense of doom, conjuring up the unsettling, oppressive atmosphere of a world, and in particular London, on the brink of catastrophic disaster. If I have a criticism, it's that it's occasionally a little slow, which is always dangerous in a novel that requires attention to detail on the reader's part.
The Countenance Divine will published on 11 August. My thanks to John Murray Press for providing me with a review copy via NetGalley.
September 27, 2016
This...was weird.
I don't know, I think I was expecting something like Neal Stephenson, which was bound to lead to disappointment anyway. It's such a great premise, but the execution is so inconsistent, and none of the book's internal logic is really conveyed to the reader. Also, it features what has to be the drippiest Messiah EVER. (Unless the actual Messiah isn't the character just referred to... Doesn't change the rest of the book, though.) Oh, and either the Apocalypse in this book actually does rely upon horrific violence against women, or Hughes hasn't sufficiently explained the reasons a reader should resist this interpretation. Which is such an old, and boring, story.
I don't know, I think I was expecting something like Neal Stephenson, which was bound to lead to disappointment anyway. It's such a great premise, but the execution is so inconsistent, and none of the book's internal logic is really conveyed to the reader. Also, it features what has to be the drippiest Messiah EVER. (Unless the actual Messiah isn't the character just referred to... Doesn't change the rest of the book, though.) Oh, and either the Apocalypse in this book actually does rely upon horrific violence against women, or Hughes hasn't sufficiently explained the reasons a reader should resist this interpretation. Which is such an old, and boring, story.
Want to read
July 29, 2016(23/07/2016)
Eighth win on the Goodreads giveaways, and I was quite pleased about this. I'm not sure what I expect of this book, but it sounds different, appealing to the side of me that always longs for more original stories to devour, so here's to hoping it doesn't disappoint.
(27/07/2016)
It arrived! And it got here surprisingly fast, which was nice. It's an uncorrected proof, the second of the wins I've received to be so, and I've yet to ever read one, so it'll be interesting, as I realise a lot can be changed before the final product comes about, and I kind of like the idea of reading a story the way it was supposed to be rather than the way it's been shaped to be by others afterwards for whatever reason. Also, the jiffy bag it came in was black with a sticker to match the cover of the book, and maybe I'm easily pleased in some ways, but I kind of like that.
I'll get on this as soon as possible.
Eighth win on the Goodreads giveaways, and I was quite pleased about this. I'm not sure what I expect of this book, but it sounds different, appealing to the side of me that always longs for more original stories to devour, so here's to hoping it doesn't disappoint.
(27/07/2016)
It arrived! And it got here surprisingly fast, which was nice. It's an uncorrected proof, the second of the wins I've received to be so, and I've yet to ever read one, so it'll be interesting, as I realise a lot can be changed before the final product comes about, and I kind of like the idea of reading a story the way it was supposed to be rather than the way it's been shaped to be by others afterwards for whatever reason. Also, the jiffy bag it came in was black with a sticker to match the cover of the book, and maybe I'm easily pleased in some ways, but I kind of like that.
I'll get on this as soon as possible.
December 10, 2017
I thoroughly enjoyed this debut novel by Michael Hughes. It's obviously the work of a highly intelligent and well-read author. I'm not going to pretend I understood every single nuance of this complicated book first time round, but I have no objection whatsoever to re-reading a book that I think has more to share than the first reading imparts. The complex nature of the book means that although it is not particularly long, it requires quiet and attentive reading... not a book for a busy beach or commute, I would say.
I loved the sections set in 1600s and 1700s especially. By coincidence I had just read The Ashes of London by Andrew Taylor and An Instance of the Fingerpost, by Iain Pears, both set in restoration London and I found I just slid back into the period effortlessly. It's not too often I read the word "sectaries" in three books in a row!
I don't tend to veer towards the supernatural in my reading, but this book is highly recommended
I loved the sections set in 1600s and 1700s especially. By coincidence I had just read The Ashes of London by Andrew Taylor and An Instance of the Fingerpost, by Iain Pears, both set in restoration London and I found I just slid back into the period effortlessly. It's not too often I read the word "sectaries" in three books in a row!
I don't tend to veer towards the supernatural in my reading, but this book is highly recommended
February 26, 2018
Michael Hughes’ The Countenance Divine is an incredibly ambitious work of fiction that weaves together four time periods, religious iconography, and philosophical musings on the nature of spirituality, ambition, art, and morality.
It’s an incredibly stylistic and extravagant novel that was by turns enthralling and head-scratching. I loved parts of it, but some portions were very difficult to make sense of, and there were definitely entire chapters that went completely over my head. Reading this definitely made me wish I was more familiar with Paradise Lost and William Blake’s poetry.
Regardless, The Countenance Divine is a very unique vision and an engaging story artfully told by Michael Hughes. Fans of elaborately artistic literature, scholars of Milton & Blake, and those fascinated by the mystery of Jack the Ripper will all find much to love about this incredibly clever and intricately wrought story.
It’s an incredibly stylistic and extravagant novel that was by turns enthralling and head-scratching. I loved parts of it, but some portions were very difficult to make sense of, and there were definitely entire chapters that went completely over my head. Reading this definitely made me wish I was more familiar with Paradise Lost and William Blake’s poetry.
Regardless, The Countenance Divine is a very unique vision and an engaging story artfully told by Michael Hughes. Fans of elaborately artistic literature, scholars of Milton & Blake, and those fascinated by the mystery of Jack the Ripper will all find much to love about this incredibly clever and intricately wrought story.
November 18, 2017
1666. 1777. 1888. 1999.
Four years, one current that connects them: the far-reaching idea that human life will not be the same after.
The Countenance Divine is an ambitious novel, tying together not only four vastly different time periods and their characters, but also highly contrasting writing styles. I was impressed with the diversity of writing, moving from pseudo-confessional document to dream sequences and stream-of-consciousness letter writing. These technical feats are what makes the book good - but at the same time it was missing that element that ties it all together. Though the reader is compelled to turn the pages, the lurking presence that connects all stories was only touched on too sporadically. By the end of it, I was vaguely left with the feeling of "what did I just read?"
Four years, one current that connects them: the far-reaching idea that human life will not be the same after.
The Countenance Divine is an ambitious novel, tying together not only four vastly different time periods and their characters, but also highly contrasting writing styles. I was impressed with the diversity of writing, moving from pseudo-confessional document to dream sequences and stream-of-consciousness letter writing. These technical feats are what makes the book good - but at the same time it was missing that element that ties it all together. Though the reader is compelled to turn the pages, the lurking presence that connects all stories was only touched on too sporadically. By the end of it, I was vaguely left with the feeling of "what did I just read?"
August 16, 2016
A compellingly strange, strangely compelling novel, in form similar to Cloud Atlas and yet not quite. An alternative history of millenarianism from the 17th century to the 20th linking Milton, Blake, Jack the Ripper and the Y2K bug
November 10, 2017
A book spanning four different stories, each set 110 years apart while being tangentially interconnected. If the above appeals to you then give it a go. I didn't enjoy this much at all.
Read
February 25, 2021i hated it!
April 13, 2021
Not my cup of tea. Not at all like Hilary mantel (see blurb) and it all seemed a bit silly....
August 4, 2016
Audience: Those who enjoy intricate stories with several different writing styles
Buy? Read? Avoid?: Read it, see if it suits you, if so then enjoy!! And buy!
Summed up in one word: Bold
Author Bio: Michael Hughes is an author, actor and teacher. He trained in Theatre in Paris and has had acting roles under the name Michael Colgan and he studied/taught Creative Writing in London. The Countenance Divine is his debut novel!
First Impression: It is unfortunate when a reader and a book don't really work well together. I just was not compatible with this book. The parts that I followed and appreciated were impressive, I just could not keep up with all the depth and references that come with several key historical figures. The Countenance Divine is a bold effort, I can imagine that someone well read in the classics, poetry and philosophical texts would find this work more enjoyable than I did. Michael Hughes is a brave author, he put his all into this book and it really shows, there are many different layers of story and writing styles included in this piece, it truly is impressive.
Synopsis:
In 1999 a programmer is trying to fix the Millennium Bug, but can't shake the sense he's been chosen for something.
In 1888 five women are brutally murdered in the East End by a troubled young man in thrall to a mystery master.
In 1777 an apprentice engraver called William Blake has a defining spiritual experience; thirteen years later this vision returns.
In 1666 poet and revolutionary John Milton completes the epic for which he will be remembered centuries later.
But where does the feeling come from that the world is about to end?
Review
Story: For a book that only goes on for around 300 pages, there is a lot to talk about here. Michael Hughes went all out for this story, threading 3 historical figures and one historical event together over a 400 year period. We get a computer programmer who is trying to solve the Two Thousand Year Problem. We get Jack The Ripper and his letters to the various key people investigating his horrific murders. Then there is William Blake and his holy visions, working hard to fulfil his apparent destiny. Finally we spend time with Thomas Allgood who has been set on a path to meet and work with the blind poet John Milton (Paradise Lost), his story is set during the events surrounding The Great Fire Of London. If you are looking for quantity then this is your book! All these characters and events are connected in some way or another and they are all to do with one subject, the end of this world and the start of the next.
Now in terms of quality this book is also top notch... Using historical figures was an excellent choice. The only downside to this is the fact that to truly appreciate what this book is about, you need to understand the people in this book. I followed the plot lines well, I understood what was happening, I just did not fully appreciate what the events meant and the overall effect of the book. There are many people out there that will truly love this piece, its meaning, its style and what it achieves, I just was not able to.
On a final note on the story, I found spending time around the historical events in this book fascinating, being on the ground during The Great Fire Of London and seeing people struggle with the looming possibility of the world as we know it collapsing due to the Millennium Bug. These are the elements that kept me reading, but they are few and far between.
Characters: The stand out characters in this piece are the historical figures. Spending time with Jack The Ripper, John Milton and William Blake was a real treat. I know that Michael Hughes fictionalised them all to a certain degree, but me being a history lover, I was excited to be reading about these people. Chris (the programmer) was the most effective character in this book as he was completely oblivious and naive to all that was actually going on, this meant everything had to be explained to him and therefore to me, the reader. There are some bizarre characters included in this tale, but that is a surprise for those of you who read this book :). The difference in era, writing style, language and experiences of each individual character makes this book not only diverse but also keeps the reader guessing about the plot until its last pages.
Themes: Lots of strong themes here. Religion, Death, Poetry and Humanity are the main elements to this story with many other themes included to add depth and potency to the story, for example love, violence and trickery.
Likes: I really liked the difference in characters. The spectrum of emotions and experiences really stands out here. From the gore of JTR to the poetry of Milton, the idiocy/panic of Chris to the faithfulness of Blake. The fact that MH really committed to this story line and pulled it off well is the best part to this book! The COVER ART for this book is the second best part of it, it is gorgeous and if I am rating it just on that then 10/10!
Dislikes: I was unable to truly appreciate this book from lack of understanding of certain aspects of the characters, that is not necessarily a flaw in the book, maybe just a flaw in my reading ability but it is a relevant problem. The changes in character, perspective and writing style can be confusing at first, trying to get your head around it can be frustrating, though once you get into a rhythm then you can get comfortable. This is definitely a book you read twice.
Rating: This is a beautiful looking book that will blow plenty of people's minds. It just did not hit the mark with me. There are some very well written characters and some very memorable moments in this piece. With horror, religion and gore carefully weaved through it as well, the author shows he is talented and he potential to be a best seller. The Countenance Divine is one of the most ambitious books I have ever read and you need to check it out for yourselves!
7/10
Buy? Read? Avoid?: Read it, see if it suits you, if so then enjoy!! And buy!
Summed up in one word: Bold
Author Bio: Michael Hughes is an author, actor and teacher. He trained in Theatre in Paris and has had acting roles under the name Michael Colgan and he studied/taught Creative Writing in London. The Countenance Divine is his debut novel!
First Impression: It is unfortunate when a reader and a book don't really work well together. I just was not compatible with this book. The parts that I followed and appreciated were impressive, I just could not keep up with all the depth and references that come with several key historical figures. The Countenance Divine is a bold effort, I can imagine that someone well read in the classics, poetry and philosophical texts would find this work more enjoyable than I did. Michael Hughes is a brave author, he put his all into this book and it really shows, there are many different layers of story and writing styles included in this piece, it truly is impressive.
Synopsis:
In 1999 a programmer is trying to fix the Millennium Bug, but can't shake the sense he's been chosen for something.
In 1888 five women are brutally murdered in the East End by a troubled young man in thrall to a mystery master.
In 1777 an apprentice engraver called William Blake has a defining spiritual experience; thirteen years later this vision returns.
In 1666 poet and revolutionary John Milton completes the epic for which he will be remembered centuries later.
But where does the feeling come from that the world is about to end?
Review
Story: For a book that only goes on for around 300 pages, there is a lot to talk about here. Michael Hughes went all out for this story, threading 3 historical figures and one historical event together over a 400 year period. We get a computer programmer who is trying to solve the Two Thousand Year Problem. We get Jack The Ripper and his letters to the various key people investigating his horrific murders. Then there is William Blake and his holy visions, working hard to fulfil his apparent destiny. Finally we spend time with Thomas Allgood who has been set on a path to meet and work with the blind poet John Milton (Paradise Lost), his story is set during the events surrounding The Great Fire Of London. If you are looking for quantity then this is your book! All these characters and events are connected in some way or another and they are all to do with one subject, the end of this world and the start of the next.
Now in terms of quality this book is also top notch... Using historical figures was an excellent choice. The only downside to this is the fact that to truly appreciate what this book is about, you need to understand the people in this book. I followed the plot lines well, I understood what was happening, I just did not fully appreciate what the events meant and the overall effect of the book. There are many people out there that will truly love this piece, its meaning, its style and what it achieves, I just was not able to.
On a final note on the story, I found spending time around the historical events in this book fascinating, being on the ground during The Great Fire Of London and seeing people struggle with the looming possibility of the world as we know it collapsing due to the Millennium Bug. These are the elements that kept me reading, but they are few and far between.
Characters: The stand out characters in this piece are the historical figures. Spending time with Jack The Ripper, John Milton and William Blake was a real treat. I know that Michael Hughes fictionalised them all to a certain degree, but me being a history lover, I was excited to be reading about these people. Chris (the programmer) was the most effective character in this book as he was completely oblivious and naive to all that was actually going on, this meant everything had to be explained to him and therefore to me, the reader. There are some bizarre characters included in this tale, but that is a surprise for those of you who read this book :). The difference in era, writing style, language and experiences of each individual character makes this book not only diverse but also keeps the reader guessing about the plot until its last pages.
Themes: Lots of strong themes here. Religion, Death, Poetry and Humanity are the main elements to this story with many other themes included to add depth and potency to the story, for example love, violence and trickery.
Likes: I really liked the difference in characters. The spectrum of emotions and experiences really stands out here. From the gore of JTR to the poetry of Milton, the idiocy/panic of Chris to the faithfulness of Blake. The fact that MH really committed to this story line and pulled it off well is the best part to this book! The COVER ART for this book is the second best part of it, it is gorgeous and if I am rating it just on that then 10/10!
Dislikes: I was unable to truly appreciate this book from lack of understanding of certain aspects of the characters, that is not necessarily a flaw in the book, maybe just a flaw in my reading ability but it is a relevant problem. The changes in character, perspective and writing style can be confusing at first, trying to get your head around it can be frustrating, though once you get into a rhythm then you can get comfortable. This is definitely a book you read twice.
Rating: This is a beautiful looking book that will blow plenty of people's minds. It just did not hit the mark with me. There are some very well written characters and some very memorable moments in this piece. With horror, religion and gore carefully weaved through it as well, the author shows he is talented and he potential to be a best seller. The Countenance Divine is one of the most ambitious books I have ever read and you need to check it out for yourselves!
7/10
This entire review has been hidden because of spoilers.
December 17, 2023
Another polarising pick. Marmite reviews, but when tackled, I found myself enjoying it far more than I expected.
Four points in history, intertwined and saturated with religion. Notable figures - plus Chris & Lucy - brought together by the divine purpose.
At times, brutal. Often, very dark. It works well. If you can switch comfortably between old-fashioned speak and modern-day language, it's an enjoyable run from post-plague London to the pre-millenium y2k panic (which I remember well).
Oh, and if you can imagine a novel that cleverly buddies up a computer programmer and Jack the Ripper in its parallels, then this is the one.
Four points in history, intertwined and saturated with religion. Notable figures - plus Chris & Lucy - brought together by the divine purpose.
At times, brutal. Often, very dark. It works well. If you can switch comfortably between old-fashioned speak and modern-day language, it's an enjoyable run from post-plague London to the pre-millenium y2k panic (which I remember well).
Oh, and if you can imagine a novel that cleverly buddies up a computer programmer and Jack the Ripper in its parallels, then this is the one.
August 9, 2019
I'm stunned. I have no real clue what I just read. It was bonkers, and I don't think I mean good-bonkers. Perhaps it lacked something because I really don't know very much about Milton nor (and more importantly) William Blake. Then again maybe not. I wandered through it feeling very lost, hoping it would all come together in one epiphany at the end. It didn't.
September 3, 2020
Really confusing narrative structure and style flitting between characters and periods of time. Huge lack of empathy towards any of the characters and a notable lack of female characters who weren't about to be murdered. A maddening read
January 18, 2021
Well-written, somewhat speculative, in other ways historical. The book weaves together four different narratives spread across centuries. I wouldn't say you need deep knowledge of John Milton, William Blake or Jack the Ripper to enjoy, just some idea of what each were famous for.
January 5, 2023
This book was utter crap! Be warned.
The people felt as flat and shallow as cardboard cutouts, especially Chris.
I really tried to read through it, but my patience is all used up. At page 89 I give up.
It's a complete mystery to me why the reviews of it seem to have been favourable.
The people felt as flat and shallow as cardboard cutouts, especially Chris.
I really tried to read through it, but my patience is all used up. At page 89 I give up.
It's a complete mystery to me why the reviews of it seem to have been favourable.
June 12, 2017
Beautifully written but not clear enough in form or intention. Some lovely prose, though. I will keep an eye out for short stories by the author.
April 15, 2018
This is just weird.
August 3, 2019
Väldigt underlig bok som jag inte alls förstod vad den ville säga. Intressant idé men tyckte utförandet var väldigt tråkigt och förvirrande.
January 16, 2024
Badly written garbage from start to finish.
January 1, 2017
We're heading toward the seventeenth anniversary of the non-disaster that was Y2K (aka the Millennium Bug). You remember the panic don't you? How we all believed (some of us anyway) that planes would fall out of the sky, financial systems would collapse, essential services would vanish and we would all end up living in mud huts and foraging berries within weeks of the disaster (those of us that survived that is). The popular view now is that the Y2K "event" was over-hyped, that certain experts may have exaggerated the danger to make a buck. Whatever the case we lived through a potential end of the world scenario.
Given the above when I started reading Michael Hughes debut novel, The Countenance Divine, and noted that our protagonist, Chris, was a software engineer working on the Y2K phenomena, I couldn't help but experience a buzz of nostalgia. It didn't last. Because what I thought might have been a literary novel poking fun at this moment of turn of the century madness turns out to be so much weirder, bizarre and disturbing. Chris' adventure with the Millennium bug is just one aspect of a centuries long conspiracy involving Jack the Ripper, William Blake and John Milton. I don't know about you but when I think Y2K I immediately associate it with Paradise Lost, burning bright tygers and the brutal murder of prostitutes in Whitechapel.
The Countenance Divine is precisely the sort of batshit crazy, ideas aplenty, slipstream weirdness that I adore. What's wonderful though, especially for a first novel, is that there's a gradual progression to the craziness. The first third of the book almost reads as very good historical fiction. Broken into four chapters we are introduced to Chris - working furiously on Y2K while trying to draw the attention of female co-worker Lucy - the Ripper - via his infamous "From Hell" letter detailing his awful exploits - Blake - and his angelic visions coupled with a passion for Milton - and finally Milton - or more precisely a short confession / memoir written by Thomas Allgood who spent a short period being the eyes of the blind poet. Other than the Blake and Milton sections it's not immediately clear how these four narratives are connected. But when - in the next third of the novel - William Blake creates a homunculus from the exhumed rib of Milton's corpse you know we're at the top of the coaster and about to head down.
It's easy for a novel like The Countenance Divine to become an unreadable mess of conflicting ideas and wacky set pieces. But with much skill Hughes is able to maintain a willing suspension of disbelief. Even with the addition of the Great Fire of London, a mysterious man in a gold mask and a wooden puzzle (a practical Rebus) that at some point is owned by each character, Hughes keeps the plates spinning. It's done so well you need to remind yourself that this is a first novel.
Invention and cray-cray aside there's a wonderful blasphemy to the whole thing as Hughes has fun with end of the world narratives and creation myths. The story of how Adam created Eve gets a good run. And you can't talk Paradise Lost without a true discussion of the relationship between Satan and God. The book is also steeped in literary allusion. I don't know enough of Blake or Milton to notice all the easter eggs, but when Hughes cribs from the ending of Logopolis (yes... that Logopolis) I might have cheered. Best of all the novel is laugh out loud funny. The bit where homunculus Milton - a sort of Milton mini me - jumps on stage during an adaptation of Paradise Lost and rants at the actors caused me to laugh so hard I may have peed myself.
And then there's the ending that somehow, coherently, ties together all the threads. But you'll have to experience that for yourself. The Countenance Divine is a truly fresh, smart, funny, erudite and fucking insane debut novel. Highly recommended.
Given the above when I started reading Michael Hughes debut novel, The Countenance Divine, and noted that our protagonist, Chris, was a software engineer working on the Y2K phenomena, I couldn't help but experience a buzz of nostalgia. It didn't last. Because what I thought might have been a literary novel poking fun at this moment of turn of the century madness turns out to be so much weirder, bizarre and disturbing. Chris' adventure with the Millennium bug is just one aspect of a centuries long conspiracy involving Jack the Ripper, William Blake and John Milton. I don't know about you but when I think Y2K I immediately associate it with Paradise Lost, burning bright tygers and the brutal murder of prostitutes in Whitechapel.
The Countenance Divine is precisely the sort of batshit crazy, ideas aplenty, slipstream weirdness that I adore. What's wonderful though, especially for a first novel, is that there's a gradual progression to the craziness. The first third of the book almost reads as very good historical fiction. Broken into four chapters we are introduced to Chris - working furiously on Y2K while trying to draw the attention of female co-worker Lucy - the Ripper - via his infamous "From Hell" letter detailing his awful exploits - Blake - and his angelic visions coupled with a passion for Milton - and finally Milton - or more precisely a short confession / memoir written by Thomas Allgood who spent a short period being the eyes of the blind poet. Other than the Blake and Milton sections it's not immediately clear how these four narratives are connected. But when - in the next third of the novel - William Blake creates a homunculus from the exhumed rib of Milton's corpse you know we're at the top of the coaster and about to head down.
It's easy for a novel like The Countenance Divine to become an unreadable mess of conflicting ideas and wacky set pieces. But with much skill Hughes is able to maintain a willing suspension of disbelief. Even with the addition of the Great Fire of London, a mysterious man in a gold mask and a wooden puzzle (a practical Rebus) that at some point is owned by each character, Hughes keeps the plates spinning. It's done so well you need to remind yourself that this is a first novel.
Invention and cray-cray aside there's a wonderful blasphemy to the whole thing as Hughes has fun with end of the world narratives and creation myths. The story of how Adam created Eve gets a good run. And you can't talk Paradise Lost without a true discussion of the relationship between Satan and God. The book is also steeped in literary allusion. I don't know enough of Blake or Milton to notice all the easter eggs, but when Hughes cribs from the ending of Logopolis (yes... that Logopolis) I might have cheered. Best of all the novel is laugh out loud funny. The bit where homunculus Milton - a sort of Milton mini me - jumps on stage during an adaptation of Paradise Lost and rants at the actors caused me to laugh so hard I may have peed myself.
And then there's the ending that somehow, coherently, ties together all the threads. But you'll have to experience that for yourself. The Countenance Divine is a truly fresh, smart, funny, erudite and fucking insane debut novel. Highly recommended.
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