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The Giant, O'Brien
Couverture de The Giant, O'Brien
The Giant, O'Brien
A Novel

New York Times Book Review Notable Book of the Year
Los Angeles Times Best Book of the Year
London, 1782: center of science and commerce, home to the newly rich and the desperately poor. In the midst of it all is the Giant, O'Brien, a freak of nature, a man of song and story who trusts in myths, fairies, miracles, and little people. He has come from Ireland to exhibit his size for money. O'Brien's opposite is a man of science, the famed anatomist John Hunter, who lusts after the Giant's corpse as a medical curiosity, a boon to the advancement of scientific knowledge.
In her acclaimed novel, two-time Man Booker Prize winning author Hilary Mantel tells of the fated convergence of Ireland and England. As belief wrestles knowledge and science wrestles song, so The Giant, O'Brien calls to us from a fork in the road as a tale of time, and a timeless tale.

New York Times Book Review Notable Book of the Year
Los Angeles Times Best Book of the Year
London, 1782: center of science and commerce, home to the newly rich and the desperately poor. In the midst of it all is the Giant, O'Brien, a freak of nature, a man of song and story who trusts in myths, fairies, miracles, and little people. He has come from Ireland to exhibit his size for money. O'Brien's opposite is a man of science, the famed anatomist John Hunter, who lusts after the Giant's corpse as a medical curiosity, a boon to the advancement of scientific knowledge.
In her acclaimed novel, two-time Man Booker Prize winning author Hilary Mantel tells of the fated convergence of Ireland and England. As belief wrestles knowledge and science wrestles song, so The Giant, O'Brien calls to us from a fork in the road as a tale of time, and a timeless tale.

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Extraits-
  • Copyright © 1998 by Hilary Mantel

    THE GIANT, O'BRIEN

    "Bring in the cows now. Time to shut up for the night."

    There came three cows, breathing in the near-dark: swishing with the tips of their tails, their bones showing through hide. They set down their hooves among the men, jostling. Flames from the fire danced in their eyes. Through the open door, the moon sailed against the mountain.

    "Or O'Shea will have them away over the hill," Connor said. Connor was their host. "Three cows my grandfather had of his grandfather. Never a night goes by that he doesn't look to get the debt paid."

    "An old quarrel," Claffey said. "They're the best."

    Pybus spat. "O'Shea, he'd grudge you the earache. If you'd a boil he'd grudge it you. His soul is as narrow as a needle."

    "Look now, Connor," the Giant said. His tone was interested. "What'd you do if you had four cows?"

    "I can only dream of it," Connor said.

    "But for house-room?"

    Connor shrugged. "They'd have to come in just the same."

    "What if you'd six cows?"

    "The men would be further off the fire," Claffey said.

    "What if you'd ten cows?"

    "The cows would come in and the men would squat outside," said Pybus.

    Connor nodded. "That's true."

    The Giant laughed. "A fine host you are. The men would squat outside!"

    "We'd be safe enough out there," Claffey said. "O'Shea may want interest on the debt, but he'd never steal away a tribe of men."

    "Such men as we," said Pybus.

    Said Jankin, "What's interest?"

    "I could never get ten cows," Connor said. "You are right, Charles O'Brien. The walls would not hold them."

    "Well, you see," the Giant said. "There's the limit to your ambition. And all because of some maul-and-bawl in your grandfather's time."

    The door closed, there was only the rushlight; the light out, there was only the dying fire, and the wet breathing of the beasts, and the mad glow of the red head of Pybus. "Draw near the embers," the Giant said. In the smoky half-light, his voice was a blur, like a moth's wing. They moved forward on their stools, and Pybus, who was a boy, shifted his buttocks on the floor of bare rock. "What story will it be?"

    "You decide, mester," Jankin said. "We can't choose a tale."

    Claffey looked sideways at him, when he called the Giant "mester." The Giant noted the look. Claffey had his bad parts: but men are not quite like potatoes, where the rot spreads straight through, and when Claffey turned back to him his face was transparent, eager for the tale he wished he could disdain.

    The Giant hesitated, looked deep into the smoke of the fire. Outside, mist gathered on the mountain. Shapes formed, in the corner of the room, that were not the shapes of cattle, and were unseen by Connor, Jankin, and Claffey; only Pybus, who because of his youth had fewer skins, shifted his feet like a restless horse, and lifted his nose at the whiff of an alien smell. "What's there?" he said. But it was nothing, nothing: only a shunt of Claffey's elbow as he jostled for space, only Connor breathing, only the mild champing of the white cow's jaw.

    The Giant waited until the frown melted from the face of Pybus, till he crossed his arms easily upon his knees and pillowed his head upon them. Then he allowed his voice free play. It was light, resonant, not without the accent of education; he spoke to this effect.

    "Has it ever been your misfortune to be travelling alone, in one of the great forests of this world; to find yourself, as night comes down, many hours' journey from a Christian hearth? Have you found yourself, as the wind begins to rise, with no man or beast for company but your weary pack-animal, and no comfort in this mortal world but the crucifix beneath your shirt?"

    "Which is it?" Jankin's voice...

Au sujet de l’auteur-
  • Hilary Mantel was the author of the bestselling novel Wolf Hall and its sequel, Bring Up the Bodies, which both won the Booker Prize. The final novel of the Wolf Hall trilogy, The Mirror & the Light, debuted at #1 on the New York Times bestseller list and won world-wide critical acclaim. Mantel wrote seventeen celebrated books, including the memoir Giving Up the Ghost, and she was awarded the National Book Critics Circle Award for Fiction, the Walter Scott Prize, the Costa Book Award, the Hawthornden Prize, and many other accolades. In 2014, Mantel was appointed Dame Commander of the Order of the British Empire. She died at age seventy in 2022.
Critiques-
  • Publisher's Weekly

    September 28, 1998
    The most engaging moments in Mantel's intriguing new novel occur when the uneducated Irish characters who make up the loutish retinue of "the Giant, O'Brien" converse. Perfectly imagining the vocabulary and inflections of Irish peasants whose stark ignorance leaves them agape at the wonders of 1782 London, Mantel produces dialogue that is at once credible and funny. Here, as in many of her novels (Eight Months on Ghazzah Street; An Experiment in Love), cultures collide, and individual human beings suffer as a consequence. Taking as her inspiration the 18th-century Irish giant Charles Byrnes, whose bones are still on exhibit in a London museum, Mantel has imagined the fate of the man, who leaves the dire poverty and scorched earth of the Irish countryside and comes to London entertaining grandiose fantasies of riches and respect, but who encounters disillusionment and his own mortality instead. In counterpoint to the giant, who lives in Ireland's glorious past, spinning folktales and fables to earn his bread, another emigre to London, Scottish surgeon James Hunter (also a real figure), is obsessed with the "modern" lure of scientific research, for which he needs bodies. Generally dependent on grave robbers for his corpses, Hunter realizes that the giant is moribund, and plots to win the cadaver. Mantel makes the most of the contrast between the steel-willed, splenetic Hunter and the gentle giant, a hedgerow scholar whose generous nature and naivete are his undoing. Her picture of late-18th-century London is brilliant--especially the gloom, filth and squalor in which the lower class exists, ruled by prejudice, superstition and strong drink. She also hits home with witty comments about the national characteristics of the English and the Irish. While the narrative fascinates with atmospheric detail, however, this novel lacks the artfully maintained suspense of Mantel's previous work. It is the rich background that sustains interest rather than the giant and his nemesis, both of whom remain shadowy figures.

  • Francine Prose, The New York Times Book Review

    "Smart, astringent, and marvelously upsetting fiction."

  • San Francisco Chronicle "A novelist without peer in her generation . . . No reader who loves fiction should miss this opportunity to read this extraordinary work."
  • The New York Review of Books

    "Mantel's novel is in one sense a brilliant pastiche of Swift and Joyce [but] it becomes her own style, as acute and arresting as is her vision of history."
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