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Philip Gwyn Jones's avatar

Who says proper criticism dead? What a superbly clear and cogent argument, tautly rigged. I am going to share it with a man not on Substack, my own captain who trained me in the arts of editing and managing alike, Stuart Proffitt, who was O'Brian's closing publisher for his last decade as a writer. He, a conservative, will love your argument as much as I, a socialist, did, I am sure.

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Jonathan Weil's avatar

Yes he is utterly brilliant. I am right now 17 books into my (latest) re-read. Regarding Maturin’s stated loyalties — to individuals only — there’s an intriguing passage in I think possibly “The Commodore” (or thereabouts) where he looks back at his diaries from the time of “Master and Commander” and seems to repudiate this, registering surprise at his former rejection of all causes, great or small, and even characterising it as something approaching spiritual death. Interesting, in that I also sensed that the Maturin of MaC was speaking for the author. I wonder whether O’Brian’s views on this also evolved over the years? Or perhaps he felt the need to account for the fact that the apparently cause-averse Maturin spends most of the series engaged in the service of one great cause after another… or perhaps the apparent contradiction isn’t one after all, and Maturin’s true dedication is to individuals over systems, and this informs his crusading opposition to the great systematiser, Bonaparte, as well as the systems of slavery and colonialism (while of course being carried about on the most advanced technological systems of his day, in the nominal service of the most successful empire of all time!)

This is the sort of dichotomy that runs throughout the books: what’s wonderful is the way in which the two sides are constantly evolving, flowing in and out of one another, taking on different valences (a near-perfect image of what I’m talking about is ready to hand in the form of the duets that the two men play, cello and violin lines improvising back and forth, sometimes intertwining, “tweedle-deedle, night after night” as Killick indignantly puts it, throughout the entire series).

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