{
  "title": "THE DEVIL’S OWN WORK",
  "category": "[NOVEL]",
  "article": "Alan Judd’s 1991 short novel about a possessed author.\n[PY, FICTIONSTREAM: “…Working effectively on three levels The Devil’s Own Work is the\nstory of a famous writer told from the perspective of a lifelong friend, a spooky and unexpected\ntale of literary possession and at the same time a well-judged critique against vacuous artistic\npretension, a ‘dance around nothing.’ Inspired by Judd’s own encounter with Graham Greene,\none gets the feeling it was an idea that was given a long time to mature but Judd did well to keep\nit short, saying everything the story needs to say with unforced patience, no extra padding and a\ncomplete avoidance of the kind of over-indulgent penmanship he challenges. Above all it’s a\nreminder not to blindly accept literary fashions that hold little water, and this brief book demands\nattentive reading…”\n[Amazon.com review] “This modern version of the Faust legend has an old man of letters pass\ndown to a young writer an ancient manuscript which bestows the gift of easy literary style and\nfluency -- and consequently head-turning success -- while blocking entirely any genuine creative\npower. To underline the devilishness of the bargain, the young author is seen to gradually throw\naway normal human decency as he gives in to overwhelming self-indulgence, and comes under\nthe sensual sway of the old man's seductive mistress. On one level then, pure Faust. On another,\nAlan Judd's book, winner of the 1991 Guardian Fiction Prize, is a sophisticated self-referential\ncommentary on the cliquish post-modern literary scene. This stylish and substantial novel is a\nclever attack on those who elevate insubstantial style.\n[Publishers Weekly] “British novelist Judd's short, ambivalent fable on the hazards of creativity\nand fame is distinguished by a style as psychologically nuanced as that of Henry James. Moments\nbefore he dies, O. M. Tyrrel, reclusive octogenarian doyen of English letters, bequeaths to the\nprotagonist, fledgling writer Edward, an ancient manuscript. This virtually illegible handwritten\ndocument bestows endless creativity on its owner, dictating ideas and themes to Edward as it\ntakes possession of his soul. Achieving fame and wealth as a postmodern novelist, Edward is also\npossessed by Eudoxie, Tyrell's ageless, elusive mistress, who becomes his live-in companion.\nEudoxie exerts a sinister force on him and also may be the wraithlike presence made visible to the\nstory's nameless narrator, an English teacher and old friend of Edward's who envies his success.\nThe action moves from London to the French Riviera, where Edward seduces the narrator's wife,\nChantal. Judd, a biographer of Ford Madox Ford, pays homage to that writer and his novel The\nGood Soldier in this homiletic parable that supports the dictum that \"truth in art matters.\" He\ncharges postmodernist fiction with betraying that principle by blurring the line between reality\nand fantasy, and he tweaks the British literary establishment for its cliquishness, pretension,\ninflated egos and embrace of style over substance--an accusation that apparently did not serve as\na handicap when the novel won the 1991 Guardian Fiction Prize in England.”",
  "origination": "Radio 4, London (BBC).",
  "duration": "April 25-29, 1994.",
  "personnel": "Ian Holm (reader), Marion Nancarrow (producer).",
  "extant_recordings": "",
  "chronology": "A BOOK AT BEDTIME—“THE DEVIL’S OWN WORK” (RADIO 4, LONDON—BBC)\n[???day—10:45-11:00 PM]\nApril 25, 1994\n[EP. 1]\n[“…Edward always seems to have been destined for success. But neither\nhe nor the narrator could have any idea of the price they are about to\npay…”]\nApril 26, 1994\n[EP. 2]\n[“…In Antibes, Edward’s meeting with Tyrell had a disturbing result…”]\nApril 27, 1994\n[EP. 3]\n[“…What’s controlling Edward’s work?...”]\nApril 28, 1994\n[EP. 4]\nApril 29, 1994\n[EP. 5]\n[“…The narrator learns the final, horrifying truth about Edward’s effect\non his life…”]",
  "sources": "",
  "gallery": "",
  "images": []
}