The Spire by William Golding

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Canadian-British director Roger Spottiswoode optioned The Spire in the mid-1990s, originally intending to adapt it for screen [20] [21] [22] and cited as a project in development. [23] In November 2012, a play adaptation by Spottiswoode was premiered at the Salisbury Playhouse, directed by Gareth Minchin. [24] [25] [26] Courage. Glory be. It is a final beginning. It was one thing to let him dig a pit there at the crossways like a grave for some notable. This is different. Now I lay a hand on the very body of my church. Like a surgeon, I take my knife to the stomach drugged with poppy.

How many completely inadequate people do we see promoted to positions beyond their ability in business, politics, the church? How much madness lies behind religious or creative vision? We have many great works of architecture, art or literature created by the efforts of individuals as driven and destructive as our poor dean. In that end what does this tell us about Golding's desire to make sense of his creative efforts in the context of his personal demons?This sensation is reinforced by the sudden appearance of Rachel, who suddenly for no reason begins to explain why she and Roger have no children: it turns out she laughed at the most inopportune moment, and Roger also could not help laughing. But then Jocelyn comes up with seditious thought: he realizes that Goody can keep Roger in the cathedral. At night, Joslin is tormented by a nightmare - it is an angel and the devil fighting for his soul. Roger Mason, a medieval Master Mason is, in direct contrast to Jocelin, physically powerful and a rationalist. He is associated with the imagery of a bull and a stallion. Roger contends with Jocelin, arguing that the cathedral foundations are insufficient to support the spire. He is forced to continue with the project because Jocelin makes it impossible for him to work elsewhere. After the death of Goody, Roger becomes an alcoholic. In a moment of clarity, Jocelin visits Roger and we eventually learn of his suicide attempt.

The Spire' is, in fact, literature; in that Golding exposes a forgotten way of life which heretofore has had little light shed upon it. He makes his scenario as authentic as possible, and (most important) he uses whatever rigor (in language) is called for. He doesn't toss off convenient, easy reading for modern audiences. He won't hold your hand; he cleaves very tightly to his history and his historical characters.

I really can’t emphasise enough how visceral this experience is. Maybe it’s just me but I was completely swept up in Golding’s amazing writing. I don’t want to give the ending away, but those of you who only want to read books with happy endings should probably avoid this one.