Every Friday Book Beginnings on Friday is hosted by Gillion at Rose City Reader where you can share the first sentence (or so) of the book you are reading, along with your initial thoughts about the sentence, impressions of the book, or anything else the opener inspires.
MERCURY IN SAGITTARIUS
In which a stranger arrives in Hokitika; a secret council is disturbed; Walter Moody conceals his most recent memory; and Thomas Balfour begins to tell a story.
I am confused this is not like the start of the TV adaptation at all.
These are the rules:
- Grab a book, any book.
- Turn to page 56, or 56% on your eReader. If you have to improvise, that is okay.
- Find any sentence (or a few, just don’t spoil it) that grabs you.
- Post it.
- Add the URL to your post in the link on Freda’s most recent Friday 56 post.
Over the past fortnight Balfour had kept his silence on the subject of Lauderback’s encounter with the dead man, Crosbie Wells, though the circumstances of the hermit’s death held a considerable amount of curiosity for him; he had not discussed Anna Wetherall, the whore on the road, at all
I am now read on past this passage and am on page 65 and even more confused – some of the characters are the same in book and TV, but I no longer know who is who!
I resorted to Google and discovered an article in the Radio Times that explained it to me – MAJOR CHANGES HAVE BEEN MADE – Eleanor Catton has adapted her own novel for the screen – and she’s reframed the story from a new perspective:
For one thing, there’s the total absence of Walter Moody from the first four episodes. That’s in stark contrast to the book, which memorably begins with the arrival of Scottish lawyer Mr Moody in the smoking room of the Crown Hotel in Hokitika.
So, now I have a dilemma – shall I carry on reading the book or watching the TV series?
The book blurb:
It is 1866, and Walter Moody has come to make his fortune upon the New Zealand goldfields. On arrival, he stumbles across a tense gathering of twelve local men, who have met in secret to discuss a series of unsolved crimes. A wealthy man has vanished, a whore has tried to end her life, and an enormous fortune has been discovered in the home of a luckless drunk. Moody is soon drawn into the mystery: a network of fates and fortunes that is as complex and exquisitely patterned as the night sky.
The Luminaries is an extraordinary piece of fiction. It is full of narrative, linguistic and psychological pleasures, and has a fiendishly clever and original structuring device. Written in pitch-perfect historical register, richly evoking a mid-19th century world of shipping and banking and goldrush boom and bust, it is also a ghost story, and a gripping mystery. It is a thrilling achievement and will confirm for critics and readers that Catton is one of the brightest stars in the international writing firmament.