About book The Laughter Of Carthage: Pyat Quartet (2006)
Originally published on my blog here in July 2001.The second of the Pyat novels - centred around a minor character who originally appeared in the Cornelius Quartet - takes his story from his escape from the collapsing Russia of the civil war which followed the 1917 revolution to a new life in the States. He is as unpleasant a character as ever, definite proof (if any were needed) that the narrators of novels do not have to reflect the views of the author. In this novel, Pyat becomes involved with the Klu Klux Klan, and this is just an extension of his racist views from his earlier condemnation of Jews and Turks. The racism of our past is easily forgotten; it can be seen in the writers who have survived - Kipling, Buchan and Haggard, and to a greater extent two of the most popular twentieth century authors of all, Enid Blyton and Agatha Christie - but is even clearer in those who have now basically been forgotten or whose politics have been overshadowed by what they did (such as film director D.W. Griffith).It is relatively easy to see why Moorcock wanted to write about Pyat despite his lack of sympathy with the kind of views he would give the character. It can be very difficult for those who would be called liberals to understand the way that people like Pyat think, and Moorcock has certainly managed to give an insight into the paranoid world of conspiracy theories these people often espouse. (The title refers to this; Carthage is Pyat's term for the "decadent" Eastern and African influences which in his view were at this time constantly trying to bring down the virtuous white civilization.) Ironically, while constantly bemoaning the way in which most people have been hoodwinked into thinking these conspiracies non-existent, Pyat is constantly being the innocent dupe - assuming his memoirs to be honest - of others who use him to front fraudulent schemes.The von Bek novels, particularly The City In The Autumn Stars, demonstrated that Moorcock had the ability to write great historical novels as well as atmospheric fantasy. In the Pyat series, this talent is fully realised. In The Laughter of Carthage, we have a meticulously researched insight into the past. There may be similarities to Flashman, but these are mainly because of the antiheroic central character; this series is stronger, more hard hitting.
Nothing like reading the whole 20th century in one book...In fact, only about 2-4 years (1920-1924)? But it seems a lot longer as the past life and the future life of Maxim Pyativich (or however he spells it) crowd the telling of the story.Pyat again is the Zelig of wherever he ends up. This time in revolutionary Constantinople (Byzantium), pre-fascist Rome, lost Generation Paris, booming New York, corrupt Washington, Ku Klux Klan country and finally the beginnings of tinseltown LA. Phew!And again Pyat seems to blunder into the wildest imbroglios, with himself always as the innocent, the patsy. This book I'm not buying it. This is his history (and since the were papers the form the book were "found" by Moorcock, literally "his story"). Pyat is the most unreliable of narrators and part of the fun is figuring out Pyat's angle.Moorcock's themes of "Byzantium" and "Carthage" were clarified a little more in this book. As far as I can make out "Byzantium" is the ideal where a quasi-fascist King-Prophet-Engineer has an iron fist over his subjects (who should only be white and non-Jewish, preferable Greek Orthodox) while "Carthage" opposes "Byzantium" by being multi-racial, democratic and demotic. But it isn't quite so clear-cut sometimes. The Bolsheviks are "Carthage" at the beginning - but Stalin soon turns out to be very "Byzantium", but Pyat has no kind words for him.Once again the writing is captivating and rich. It is a shame that Moorcock is usually cast into the Carthaginian genre fiction ghetto - he can hold his own with the best literary fiction's Byzantium.
Do You like book The Laughter Of Carthage: Pyat Quartet (2006)?
I liked this book a lot. The whole series is a borne of a legitimately fascinating thematic bent, and really explores these themes in a variety of very clever ways. These clever ways also mean the book is rarely a compelling read. The prose is very well-written, but the deliberate repetition starts to mask this pretty well. I end up with mixed feelings, because the choices make so much sense, but they also make the book a bit of a slog at times. Ultimately it feels worthwhile, I just hope that the whole series will pay-off.
—The3rdwall
