MuleSkinner Book Recommendation #18

In Search of the Castaways¹

(By Jules Verne, p. 1867-1868)

Recommendation 8 /2009

“On the 26th of July, 1864, a magnificent yacht was steaming along the North Channel at full speed, with a strong breeze blowing from the N. E. The Union Jack was flying at the mizzen-mast, and a blue standard bearing the initials E. G., embroidered in gold, and surmounted by a ducal coronet, floated from the topgallant head of the main-mast. The name of the yacht was the DUNCAN, and the owner was Lord Glenarvan, one of the sixteen Scotch peers who sit in the Upper House, and the most distinguished member of the Royal Thames Yacht Club, so famous throughout the United Kingdom.

Lord Edward Glenarvan was on board with his young wife, Lady Helena, and one of his cousins, Major McNabbs.

The DUNCAN was newly built, and had been making a trial trip a few miles outside the Firth of Clyde. She was returning to Glasgow, and the Isle of Arran already loomed in the distance, when the sailor on watch caught sight of an enormous fish sporting in the wake of the ship. Lord Edward, who was immediately apprised of the fact, came up on the poop a few minutes after with his cousin, and asked John Mangles, the captain, what sort of an animal he thought it was.

'Well, since your Lordship asks my opinion,' said Mangles, 'I think it is a shark, and a fine large one too.'

'A shark on these shores!'

'There is nothing at all improbable in that,' returned the captain. 'This fish belongs to a species that is found in all latitudes and in all seas. It is the 'balance-fish,' or hammer-headed shark, if I am not much mistaken. But if your Lordship has no objections, and it would give the smallest pleasure to Lady Helena to see a novelty in the way of fishing, we'll soon haul up the monster and find out what it really is.'

'What do you say, McNabbs? Shall we try to catch it?' asked Lord Glenarvan.

'If you like; it's all one to me', was his cousin's cool reply.

'The more of those terrible creatures that are killed the better, at all events,' said John Mangles, 'so let's seize the chance, and it will not only give us a little diversion, but be doing a good action.' [….]”

With the above words begins novel selected as our subsequent recommendation. If that's an example of a kind, typical depiction from 19^th century human-nature relationships or just more likely a coincidental incident, imagined by writer to catch readers attention and only there because of exciting and intensified tones needed for first paragraphs is left for reader to decide. The plot then starts up as they found (from sharks belly) a message in the bottle, send by shipwrecked capt. Grant and Glenarvon with his companions then decides to make a search with the purpose of captains rescue.

Contrary to our usually maintained policy, often favoring class society literature, this book mainly belongs to the classic (youth) adventures and related stories. A little exceptional here, since normally we would avoid anything such popular (fiction).

In any case [Jules] Verne (1828-1905) would have made an unsurpassable contender for this series, sooner or later. His place among the most translated author's of the world (only second to Agatha Christie(1890-1976) gives little argument on behalf the choice, multitude of his works and the variety in their subjects more obviously does. The copy we had available had been translated from the honorable 50^th edition published in original language (Surprisingly, in addition to couple Soviet films, from 1936 and 1985(tv-serie), the 1962 Disney flick seems to be the only screening from the story).

The Castaways is basically a typical Vernerian adventure, and we could of course have chosen from plenty other good alternatives: My personal favorites include Off on a Comet (or: Hector Servadac, 1877) and Journey to the Center of the Earth, 1864 (recently refilmed, past filmography contains at least 4 movies and couple a TV-versions). From Verne's less renown earlier books there's also fx the arctic exploration journeys, Adventures of Capt. Hatteras (p 1866), consisting from two parts divided to separate books - The English at the North Pole and The desert of ice. Our selection here, Castaways has for its advocation fx those fine descriptions from the Patagonian plains (Argentinian pampa). Verne in question, famous from a phrase that originates to his childhood and goes something like 'from now on I will only travel in my imagination', it feels presumable that author hadn't actually visited the continent (Though, I've not bothered to check his biography more precisely.) Partly related to that, we also find the Castaways belonging for the series of 'life-like adventures', as in form of plot and incidents there's nothing in the novel that would demand the reader being any Vernerian believer² in need to interpret the books content and themes. Books contents may have been intentionally kept on the limits of popular readers interest, and therefore confined to foreign lands and journeys of the adventurers - also reason may be that it was probably published as some sort of follow-up to Five weeks in Balloon(1963), author's first novel/success in the fiction.

Also, already at the time of the first publication these (series of) novels were given the subtitle, Extraordinary Voyages. A bit later books in series, soon to follow, are the famous Capt. Nemo stories, namely Twenty Thousand Leagues Under the Sea (1869-70) and Mysterious Island (1874-75) – The latter introduces even some mutual characters with Castaways and fx ship that finally arrives to rescue castaways from that Island is Duncan, Glenarvon's yacht. All the three therefore form loosely uniform entity, though each book is individual novel. As renown and presumable, the later 'sequels' focus largely around the Nemo and his submarine(Nautilus), and have been filmed repeatedly (there's number of versions from the first mentioned and fx from Mysterious Island 7 films and at least one Tv-serie exist).

In search of the extraordinary characters. Castaways contains both the 'vernerian realism' and '-romantism' in their most typical. If thinking the plot itself, respectable Lord Glenarvon and his companions/employees launching a voyage to search a lost ship-wrecked poor fellow-man around the four corners of the world doesn't feel realistic starting point. Not intended to be such and this of course only is a feature of that romanticism, say. Still, unselfishness of those noble gentlemen in benefit of the poor orphans, capt. Grants children Robert and Mary, appears slightly romanticed and exaggerated altruism. In reality, it of course seems likely that these honorable gentlemen wouldn't probably have the time or interest from their profitable businesses to participate for such uncertain effort. But, a 19^th century was also a period of exploration and as the shipwrecks were still quite common, the survivors were sometimes searched afterwards by others. In this sense books romanticist theme may have also been felt very catching by the public and still does, probably. Only that such dramatic topics and romanticed stories nowadays are the everyday use of the soap-operas and old-fashion tv-series and so no-one in these cynical days isn't much moved from such framing for adventures (also may be a result from that exhibits from such deeds and sacrifices by rich and stardom people are so common in magazines). But we can of course imagine that the willingness of these (fictional) gentlemen to any kind of adventures could have gathered them for this kind of unselfish rescue-journey.

However, even less realistic creation appears a character searchers meet at Patagonian mountains (Andes), Thalcave. This noble savage (whose name means something like 'thunder') isn't any particularly exceptional creation either, quite the contrary. As his name would suggest, he carries all those superheroic qualities presumed; kills a condor with a master-shot from almost impossible distances, speaks little and always wisely, is muscular by outer looks and without reservations from the start faithful to death for the foreign voyagers he hardly knows. Also is childish from the mind, brave by heart. So, briefly that's an example from [James] Fenimore-Coopers(1789-1851) type of literature indians - a common and typical character in romantistic 19^th century books and largely imitated by other writers. From Cooper's characters the best renown are Uncas/Chincaghook, Hard Heart perhaps(latter from Prairie, 1827). In addition to this super-human character, Castaways narrator also elsewhere fx inpassing describes the mixed blood local inhabitants as degenerated race. That neither not much uncommon practice in various 19^th century descriptions from newly colonized lands, therefore not perhaps adequate reason to condemn Verne a racist. But, also rasistic distinctions can be picked from the many pages in Castways, usually unproblematically merged within books romantic and idolizing descriptions.

Novels boring gallery from heroes and passive females is slightly re-arranged with the introduction of character that most of them could resemble an actual historical person. That is a geographist who accidentally enters Glenarvons ship and joins their journey, Paganel – The name somewhat gives reasons to wonder if that gallery of characters after all merely is a Vernerian joke. Differing from others, Paganel is french, absent-minded scientist who in spite of his profession turns out to be as skillful explorer as his companions. It is known that Verne around the same period (1865) also worked on one of his non-fiction books, The Illustrated Geography of France and her Colonies, which gives us some interest to speculate if that Paganel might instead represent in some level Verne's own persona in the Castaways. But, not any apparent clues from such jokings or alter ego's are presented and books themes also are pretty faithful to subjects typical in the canon of romantic literature (including journeys through wilderness and untraveled continents, noble heroes and their courageous deeds as well as male companionship).

Presumably, the literary criticism have presented (and speculated) the possible sources for that peculiar character, Paganel. It is known that Verne's publisher Hetzel usually demanded more positive turns for plot when the author himself would probably had preferred darker tones instead. Hetzel fx shelved that lately famously found (in 1990s) early manuscript, named Paris in the 20th century (written before Verne's renown works) - see more from it here. So,it can be also speculated if Hetzel may have had effect on Castaways contents as the book belongs to Verne's early works, although book wouldn't have been felt as strange by the reading public of the time. Even though, there might have been at least slight guidance and restrictions concerning the themes. How much, seems less clear. Anyway, Paganel's an important character in the story and actually the novel would appear lot more conventional without (even all that implicit, typically 19th centurian racial discrimination in the book would appear more conventional if he had been removed). But, as we haven't got any knowledge from Verne's opinions or motives, we can leave the preceding for mention.

Taken for granted. The lands and places (Since we've only read until middle of the book this far, Argentinian pampa mainly) travelers pass are all described very enchantingly, giving impression from expertise and realism in detail – trees, bushes, climate, all of it makes one imagine that this could be the way these areas and environments are/were. More typically for journey stories of those times, Verne especially, the passengers also enjoy plenty of meals from nature's offerings. From the various prey they harvest in their hunts reader learns names for number of birds in Araucan (ie probably in original spoken language of the region though its name is spaniard origin and therefore abandoned in use nowadays) – But various species are refered with that 'exotic' language, like the isacus (doves likely), chingolos, bulgueros, mongitas (sparrows and/or pigeons), tinamous (partridge), teru-teru (plovers), and tangaras, annubis. From more typical birds names there are nandus, wrens and flamingos. And continuing, they also encounter some other animals, fx peccary and the Red wolves of pampa which persecute passengers in one chapter (these were apparently not real wolves exactly speaking, but perhaps numerous in the 19th century - although, since I'm not able to find any description from that particular species, might as well be additional detail by readers licenses...)

On the other hand, like we've noticed Castwaways is very conventional as novel of its kind. The nature serves as an inexhaustive reserve, wild animals are mostly either useful prey in supplement the voyagers meals, beauties of the nature or frightening beasts – therefore usually best demolished and/or stuffed for decoration. Typical attitudes in the travels on the wilderness that make an important part of many Verne's (early) books. On the other hand he likely wasn't at all too optimistic concerning the inventions and progress as has been the later usual belief. Best example in Verne's contradictory characters is found from Nemo's lunatic person, interesting from the combination of his advanced technology and frantic hate towards the (western) civilization.

But now, we can also notice that Verne's books have had enormous impact on much of the later fiction, both in form of novels and movies (not to forget the comics – fx Alan Moore's The League of Extraordinary Gentlemen, though we're not much familiar with the serie and not bothered to check 'em for this text). Verne's works obviously use many elements that have been in existence before him, but their modern form he may have mastered in these novels. And as result that's a regular stuff and source material nowadays in numerous tv-series, fx. This is particularly found in such repeating schemes as ship-wrecked wonderers at the lone islands or the explorations to previously unknown/existing places. A watcher may find some reminiscients of that fx in series so different (or: similar) as Lost and The Survivors. Obviously, Verne's 'romantic realism' is lot more inventive creation than most of our times later (tv-)remakes and reuses. And we've not here much discussed his many futuristic foresees and 'scifistic visions', inventive and fantastic but in some ways similarly a very 19^th centurian phenomenom by origin and form, too.

In defense of the '19th century genius'. Later times may have seen Castaways in a bit more critical light if compared to some of author's later works which are nowadays more praised. That's perhaps because those (earlier mentioned) rasistic implications and attitudes in the book. Principally this means novels stereotypical characters, but it contains also plenty other, often more direct racial prejudices; those include that very typical 19th centurian attitudes of journey makers on their voyage through those 'unmapped' and 'untouched' lands, where 'no man has ever walked before', fx. As well similarly stereotypical are the unambigous descriptions of cannibalism, intended to correspond supposed popular readers taste and imagination, probably. But, in the same way, just as typical are descriptions from the strenuous (European) pioneers and settlers prospering on the new lands and continents.

Verne's novels often contain also political aims as is often mentioned. In Castaways these also perhaps are more apparent than in some other, and reader is given sometimes surprisingly plain colonization histories from the deeds of British world imperium on various continents (but fx from the histories of French colonies - be they less crude or not - he isn't told anything). Nowadays all this gives even more contradictory impression as the brave settlers are first praised and almost in the same sentence their original country quite justifiedly blamed from the enslavement/robbery of the foreign lands (while the native people of those lands are unalternatively described as noble or primitive). Some 150 years later, all that of course appears (again) just as typically 19th centurian attitudes.

But, (to put most of this) in brief, it can be noted that in the Castaways modern, progressive world is always there implicitly present, but apart from this existing wilderness where brave civilized (men) are showing their capability to survive in the harsh conditions with their (superb) intellect and other good qualities – not very much simplifying it. As we've tried to keep reminding, novel also has some better parts. Them include fx its effective and forceful narration as well as those earlier described (Vernerian) descriptions from various places and environments. In that sense, the book feels more carefully written as some of the authors latter novels. Modern reader only notices that these descriptions often are only a context created for the contemporary public, and perhaps this may have been the reason in behind of books so striking prejudices and illusions (fx in addition to above presented they also include the view from soon expected disappearance of the aboriginal cultures as well as the unavoidable disappearance of that romantic, pristine nature). If one can tolerate those attitudes, say that 19th centurian mind and thinking lurking from between the lines, then its otherways pretty competent story. And also its better than most of the remakes, if I'd say.

(Also seems that we've again slipped in the recent recommendations for only male writers, so might as well choose for the following 3 or 4 female authors, possibly.)

Notes:

1. Or The Children of Captain Grant. Original French name is Les Enfants du Capitaine Grant. In 1876 it was republished as A Voyage Around World (fr. Voyage autour du Monde); The latter three volume book uses in naming of the adventures the geographical setting of events - South America, Australia and New Zealand.

2. In the usual meaning of the term, a Vernerian, as explained in that most recent flick Journey to the Center of the Earth(2007), means a person who believes the extraordinary and magnificient things in Verne's books are based on real, actually existing places and happenings. However, we use that term (Vernerian) with different meaning; like in the case of any other author (fx Balzaccerian, Barksian) we mean by that simply the style or narration in some way typical for the prose of the author in question. So, Vernerian especially are fx those scientific detailed depictions from places and things, technologic inventions and devices, imaginative but mainly presented as based on contemporary 19^th century knowledge from the laws of nature, mechanics, chemistry etc. By Vernerian believer we refer to adverbs more common use, as explained in above (this kind of reminds me from that there really was a strong following of such believers in the times after Verne's books original publication or following his death, but again I've not bothered to check that more precisely. Probably a phenomenom that's found within some other inventive writers too, but also it may be connected to the 19^th centurian issues we're discussing in this recommendation.)

----------
( The latest posts! - @ Mulskinner Blog @ )


----------
Powered by ScribeFire.