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The Harvest
A debut novel about adolescence and first love, English nature and the profound changes affecting the rural landscape. With no job and no prospects, young country-boy Lewis Pike is casually seduced by a married woman. When she ends the relationship, his fragile world disintegrates.
224 pages, Paperback
First published August 30, 1999
2 people are currently reading
26 people want to read
About the author
Christopher Hart
6 books4 followersLibrarian Note: There is more than one author in the Goodreads database with this name.
Please see: Christopher Hart
AKA William Napier.
Christopher Hart (born 1965) is an English novelist and journalist.
He was educated at Cheltenham College (expelled), Leicester University (dropped out), Oxford Polytechnic and Birkbeck College, London, where he completed a PhD on W.B.Yeats.
Under his original name he has written two contemporary novels, The Harvest and Rescue Me. Since 2001, he has written four historical novels under the pseudonym of William Napier, the last three a best-selling trilogy about Attila the Hun and the Fall of the Roman Empire.
As a journalist he has worked as Literary Editor of the Erotic Review (magazine folded) and Agony Aunt for Time Out (sacked.) He currently writes regularly for the Sunday Times, where he is lead theatre critic, and the Daily Mail.
Please see: Christopher Hart
AKA William Napier.
Christopher Hart (born 1965) is an English novelist and journalist.
He was educated at Cheltenham College (expelled), Leicester University (dropped out), Oxford Polytechnic and Birkbeck College, London, where he completed a PhD on W.B.Yeats.
Under his original name he has written two contemporary novels, The Harvest and Rescue Me. Since 2001, he has written four historical novels under the pseudonym of William Napier, the last three a best-selling trilogy about Attila the Hun and the Fall of the Roman Empire.
As a journalist he has worked as Literary Editor of the Erotic Review (magazine folded) and Agony Aunt for Time Out (sacked.) He currently writes regularly for the Sunday Times, where he is lead theatre critic, and the Daily Mail.
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Displaying 1 - 3 of 3 reviews
October 19, 2024
I sincerely enjoyed The Harvest - although there were a few pointless threads that could have been trimmed down, and some lines that made me cringe outright for all the wrong reasons.
Starting with the positive notes - despite saying and doing very little, it is incredibly easy to connect with Lewis as a protagonist. The author accurately captures the lived experience of anxiety, but there are hints of deeper issues brewing for Lewis which build steadily throughout the novel. You get the sense that Lewis has some level of burgeoning psychosis simmering under the surface the whole way. He experiences moments of clarity that make you wonder if this is actually just adolescent angst, or truly a much deeper issue. Lewis's characterisation is one of the strongest parts of the novel - he is incredibly believable, equally as tragic, and his descent into mental illness is so gradual you find yourself sinking with him, unsure where it will lead.
In terms of world building, The Harvest is incredibly immersive. I particularly enjoyed the dichotomy between the village and the town. Although the descriptions were often long-winded, the village and the countryside are painted in great detail, and the rich imagery brings the village to life - whereas the 'modern' settings in town, Katy's flat, and the dairy, feel stark and lack colour in contrast. This was very well done; it was clear that Lewis simply didn't belong in the modern world.
There are some incredibly poignant moments in this novel - you truly cannot help but grieve for the passing of time, and for the endless lives lived and forgotten. There is an undercurrent of mourning that runs through the entire novel, and you truly find yourself touched by the world the author has built - it is hard not to feel sympathy for characters like Mrs. Martin, who we learn so little about. She is a victim of the passing of time and she is written off as mad both by the village and Lewis. I did find it frustrating that we never learned more about her, how she came to be this way, and why she still grieved for Jack, who never seemed to think about her twice - I'm not sure if this was intentional on the author's part, as an example of the way countless generations have suffered and been forgotten, or if the author simply bit off more than he could chew with this thread.
Either way, I was incredibly touched by this undercurrent of mourning for times gone by. Lewis is stuck in the past for reasons that are never fully explained - there are hints about his mother, but again, these hints are never fully developed, and I get the sense the author was attempting to do too much. Interestingly, his grandmother, who has lived through loss, is able to rationalise this grief for the past and accept that old traditions may have been abandoned for a reason.
There were a few other threads I thought were completely pointless - another example of the author attempting to do too much. Steve's death across the river from the former Prime Minster's house seemed like an attempt at political commentary. The problem with this is that Steve's death was so peripheral to Lewis's journey, it felt completely tasteless, because this was a novel about Lewis at the core. It easily could have been a novel about the different paths taken by young people leaving small villages - some do well and love city life, as with Tom, some struggle with vices and never quite adapt, as with Steve, some don't go far and settle for an in-between state, as with Katy, and some never leave, as with Lewis. But this was not a novel with multiple perspectives, and as a result, Steve's death felt very pointless and was never revisited. It was never clear who Steve was in the first place, which made it difficult to connect to his short journey.
More successful was the presence of 'incomers' in the village, constant references to London city dwellers, and the wealthy Van der Veen's unseen presence. Although self-aware to some extent, Gerald was another great example - having come from London, romanticising the countryside, rambling about academia knowing that his audience didn't benefit from the same education as him was quite powerful. While Lewis is in awe of him, John Pike's complete bemusement when he listens to the ramblings of this self-important outsider spoke volumes. As did Gerald and Mary's readiness to pick up and leave once they'd enjoyed their fantasy of living out in the country, reflecting the reality that for the privileged, this is an optional pitstop, while the descendants of the generations who have lived in these ancient villages have fewer options. Although this book is over two decades old at this point, the upper and middle classes making a weekend playground out of the countryside is an ongoing and relevant issue.
However, one of my biggest grievances with this novel - because it was compelling enough to look beyond the undeveloped threads - was the characterisation of women. The subtext appears to be laced with subtle misogyny - women are either described as highly sexual beings, or old, flabby, and hysterical. Some of the language at times - bitch, slag, cunt - is wholly unnecessary.
To some extent, I might excuse this as Lewis being deeply intimidated by women, or his underlying psychosis coming through. Lewis does dwell on an odd memory of his mother and her friends performing some strange ritual that probably had no basis in reality. He also dreams about male genitalia being severed by women once or twice - it is clear that the author wanted to get across the idea that Lewis has major issues with women, but once or twice, these subtle misogynistic descriptions seeped through into other character's perspectives, beyond one of Lewis's episodes, and they did lift the immersion and give me pause.
However, I would say my biggest grievance with this novel is the romanticisation of Mary's relationship with Lewis. Her age is never explicitly stated, but she is a married woman who spent several years in London with her husband before moving to the village. We can surmise that she is well into her adult years. Her seduction - or more accurately, grooming - of a teenage boy is frankly disturbing. Her internal monologue clearly states that she is specifically aroused by Lewis's youth, and the author's tone and language never reflects the insidious nature of their relationship. On the contrary, the author appears to suggest that the relationship between Lewis and Mary should be viewed as some great romance - Lewis takes comfort in Mary's confession of love, and Mary's premonition that Lewis is dead hints at some deep spiritual connection between the two that is incredibly disturbing.
Equally as disturbing - it is heavily implied that Gerald is aware of the affair and approves. Of course, Lewis is seventeen and the novel is set in England, but the blatant ephebophilia was just unsettling. Gerald and Mary not only used the countryside as a space to live out their pagan wanderer fantasies, but they also used a vulnerable boy in some very insidious ways. Gerald viewed Lewis as the last of the 'peasants' and a case study for his poetry - patronisingly wondering how Lewis would react if he dedicated his book to him, knowing Lewis knew nothing of poetry. Mary - as covered above - knowing he was vulnerable, simply used him for a brief affair. Their actions were highly exploitative throughout - and yet, the author made an antagonist of unseen characters instead. Hart's tone seemed to suggest that we should warm to Gerald and Mary, despite their horrible personalities and actions.
Overall, I will admit that this was a compelling read despite my criticisms, and I was touched by many of the themes explored. Lewis was an excellent protagonist and I was sincerely moved by his journey; I assumed he would ultimately commit homicide rather than suicide, so his fate did come as a surprise that moved me greatly.
John Pike was also a very compelling character - it was clear that he came from one of the last generations that did not feel forced to choose between the old ways and the new ways. He seemed secure in his identity and secure in his roots, unlike Lewis - which perhaps made it possible for John to endure the sort of work Lewis would have found humiliating. Ultimately, John had stronger roots to keep him grounded. As a character he was flawed, yet his love for his son came through, and the unspoken regret that his temper caused rifts was very believable.
Despite the many loose thread that were never fully resolved - Mrs. Martin, Lewis's absent mother, Steve, Tom, Lise, Patricia, who came out of nowhere - and the disturbing 'romance' at the heart of the novel, The Harvest was a sincerely gripping read. I did finish it in one sitting, but I'm not sure I'll revisit for a second read. I am tempted to look into more of Hart's work to see if he managed to tighten up his plot points in later works - it is important to note that this is a debut novel, which may explain some of these issues.
Starting with the positive notes - despite saying and doing very little, it is incredibly easy to connect with Lewis as a protagonist. The author accurately captures the lived experience of anxiety, but there are hints of deeper issues brewing for Lewis which build steadily throughout the novel. You get the sense that Lewis has some level of burgeoning psychosis simmering under the surface the whole way. He experiences moments of clarity that make you wonder if this is actually just adolescent angst, or truly a much deeper issue. Lewis's characterisation is one of the strongest parts of the novel - he is incredibly believable, equally as tragic, and his descent into mental illness is so gradual you find yourself sinking with him, unsure where it will lead.
In terms of world building, The Harvest is incredibly immersive. I particularly enjoyed the dichotomy between the village and the town. Although the descriptions were often long-winded, the village and the countryside are painted in great detail, and the rich imagery brings the village to life - whereas the 'modern' settings in town, Katy's flat, and the dairy, feel stark and lack colour in contrast. This was very well done; it was clear that Lewis simply didn't belong in the modern world.
There are some incredibly poignant moments in this novel - you truly cannot help but grieve for the passing of time, and for the endless lives lived and forgotten. There is an undercurrent of mourning that runs through the entire novel, and you truly find yourself touched by the world the author has built - it is hard not to feel sympathy for characters like Mrs. Martin, who we learn so little about. She is a victim of the passing of time and she is written off as mad both by the village and Lewis. I did find it frustrating that we never learned more about her, how she came to be this way, and why she still grieved for Jack, who never seemed to think about her twice - I'm not sure if this was intentional on the author's part, as an example of the way countless generations have suffered and been forgotten, or if the author simply bit off more than he could chew with this thread.
Either way, I was incredibly touched by this undercurrent of mourning for times gone by. Lewis is stuck in the past for reasons that are never fully explained - there are hints about his mother, but again, these hints are never fully developed, and I get the sense the author was attempting to do too much. Interestingly, his grandmother, who has lived through loss, is able to rationalise this grief for the past and accept that old traditions may have been abandoned for a reason.
There were a few other threads I thought were completely pointless - another example of the author attempting to do too much. Steve's death across the river from the former Prime Minster's house seemed like an attempt at political commentary. The problem with this is that Steve's death was so peripheral to Lewis's journey, it felt completely tasteless, because this was a novel about Lewis at the core. It easily could have been a novel about the different paths taken by young people leaving small villages - some do well and love city life, as with Tom, some struggle with vices and never quite adapt, as with Steve, some don't go far and settle for an in-between state, as with Katy, and some never leave, as with Lewis. But this was not a novel with multiple perspectives, and as a result, Steve's death felt very pointless and was never revisited. It was never clear who Steve was in the first place, which made it difficult to connect to his short journey.
More successful was the presence of 'incomers' in the village, constant references to London city dwellers, and the wealthy Van der Veen's unseen presence. Although self-aware to some extent, Gerald was another great example - having come from London, romanticising the countryside, rambling about academia knowing that his audience didn't benefit from the same education as him was quite powerful. While Lewis is in awe of him, John Pike's complete bemusement when he listens to the ramblings of this self-important outsider spoke volumes. As did Gerald and Mary's readiness to pick up and leave once they'd enjoyed their fantasy of living out in the country, reflecting the reality that for the privileged, this is an optional pitstop, while the descendants of the generations who have lived in these ancient villages have fewer options. Although this book is over two decades old at this point, the upper and middle classes making a weekend playground out of the countryside is an ongoing and relevant issue.
However, one of my biggest grievances with this novel - because it was compelling enough to look beyond the undeveloped threads - was the characterisation of women. The subtext appears to be laced with subtle misogyny - women are either described as highly sexual beings, or old, flabby, and hysterical. Some of the language at times - bitch, slag, cunt - is wholly unnecessary.
To some extent, I might excuse this as Lewis being deeply intimidated by women, or his underlying psychosis coming through. Lewis does dwell on an odd memory of his mother and her friends performing some strange ritual that probably had no basis in reality. He also dreams about male genitalia being severed by women once or twice - it is clear that the author wanted to get across the idea that Lewis has major issues with women, but once or twice, these subtle misogynistic descriptions seeped through into other character's perspectives, beyond one of Lewis's episodes, and they did lift the immersion and give me pause.
However, I would say my biggest grievance with this novel is the romanticisation of Mary's relationship with Lewis. Her age is never explicitly stated, but she is a married woman who spent several years in London with her husband before moving to the village. We can surmise that she is well into her adult years. Her seduction - or more accurately, grooming - of a teenage boy is frankly disturbing. Her internal monologue clearly states that she is specifically aroused by Lewis's youth, and the author's tone and language never reflects the insidious nature of their relationship. On the contrary, the author appears to suggest that the relationship between Lewis and Mary should be viewed as some great romance - Lewis takes comfort in Mary's confession of love, and Mary's premonition that Lewis is dead hints at some deep spiritual connection between the two that is incredibly disturbing.
Equally as disturbing - it is heavily implied that Gerald is aware of the affair and approves. Of course, Lewis is seventeen and the novel is set in England, but the blatant ephebophilia was just unsettling. Gerald and Mary not only used the countryside as a space to live out their pagan wanderer fantasies, but they also used a vulnerable boy in some very insidious ways. Gerald viewed Lewis as the last of the 'peasants' and a case study for his poetry - patronisingly wondering how Lewis would react if he dedicated his book to him, knowing Lewis knew nothing of poetry. Mary - as covered above - knowing he was vulnerable, simply used him for a brief affair. Their actions were highly exploitative throughout - and yet, the author made an antagonist of unseen characters instead. Hart's tone seemed to suggest that we should warm to Gerald and Mary, despite their horrible personalities and actions.
Overall, I will admit that this was a compelling read despite my criticisms, and I was touched by many of the themes explored. Lewis was an excellent protagonist and I was sincerely moved by his journey; I assumed he would ultimately commit homicide rather than suicide, so his fate did come as a surprise that moved me greatly.
John Pike was also a very compelling character - it was clear that he came from one of the last generations that did not feel forced to choose between the old ways and the new ways. He seemed secure in his identity and secure in his roots, unlike Lewis - which perhaps made it possible for John to endure the sort of work Lewis would have found humiliating. Ultimately, John had stronger roots to keep him grounded. As a character he was flawed, yet his love for his son came through, and the unspoken regret that his temper caused rifts was very believable.
Despite the many loose thread that were never fully resolved - Mrs. Martin, Lewis's absent mother, Steve, Tom, Lise, Patricia, who came out of nowhere - and the disturbing 'romance' at the heart of the novel, The Harvest was a sincerely gripping read. I did finish it in one sitting, but I'm not sure I'll revisit for a second read. I am tempted to look into more of Hart's work to see if he managed to tighten up his plot points in later works - it is important to note that this is a debut novel, which may explain some of these issues.
This entire review has been hidden because of spoilers.
January 6, 2013
Could be considered a coming of age story about a young boy in the english countryside but I think there are a lot of subtexts to enjoy. Much underrated this book
August 12, 2020
Extremely underrated! We are born lost in a post-modern world and stripped of all inheritance we are faced with a nihilism and a void that no noble soul can survive. This book should be way more recognized and read.. however, it is fitting that the masses do not rate it in our times.
Displaying 1 - 3 of 3 reviews