Some years ago, I had the pleasure of reading the Booker-prize winning masterpiece Birdsong, by Sebastian Faulks, which motivated me to pick up a couple of his other novels for later consumption, including Engleby. One day, I randomly plucked it off the shelf and turned to the first page. Honestly, it was not easy to put down. Also, to be even more honest, there were times that I really wanted to.
As a reviewer, it sounds somewhat awkward or even unseemly to resort to a term like “creepy” to describe a novel, but that would most accurately describe the subtle if sustained punch in the gut I experienced while reading this one, propelled by a growing revulsion for the central character. As the narrative unfolds, that character—the eponymous Mike Engleby—is a working-class Brit on scholarship to “an ancient” university in the early 1970s. He comes across as a bit of an oddball, but for those of us who lived through this era that was hardly unusual nor especially undesirable, given that to be an iconoclast in those days was often seen as a virtue. But the reader cannot help but experience an emerging disquiet as Engleby develops an infatuation that veers to obsession that then turns more ominously to the outright stalking of his bright and beautiful classmate Jennifer Arkland. Along the way, there are flashbacks to the bitter poverty of Engleby’s youth, the regular beatings by his father, the quotidian brutality of his life at public school where he is condemned to the unfortunate nickname “Toilet” and subjected to an ongoing torment that stretches the limits of endurance to cruelty—the cumulative effect of which, it becomes clear, shapes him into a bully, a thief, a drug dealer, an opportunist. Flash forward again and Jennifer has disappeared, never found, presumed murdered.
Did Engleby murder her? Could he be a serial killer? Is he mere weirdo or sociopath? That’s for you to find out: I don’t believe in folding spoilers into reviews. But the narrative is laced with plenty of clues, scattered within an interior monologue that invites an uncertain sympathy for a protagonist whom at best provokes the uneasy, at worst the repellent. Yet, it is the genius of the author to tempt the reader to veer from repugnance to empathy, against all odds, even if this shift may prove temporary. And the reader, like it or not, is ensnared in an uncomfortable fascination with this very same well-crafted interior monologue, a kind of labyrinth pregnant with Engleby’s barely suppressed anxiety, which he overcompensates for with visions of grandeur and a disdainful arrogance for all others in his orbit—except perhaps, that is, for Jennifer Arkland. And then that anxiety grows contagious as the reader begins to question the reliability of the narrator! Are the things revealed by Engleby’s inner thoughts real or imagined? Is Faulks himself, acting as both wizard and jester, simply mocking us from behind the curtain?
The last time I found myself as deeply unsettled by a work of fiction, it was Perfume, by Patrick Süskind, the unlikely tale of an eighteenth-century serial killer, but that novel was tempered with a pronounced sense of the ironic if not especially comedic. Not so with this one: there’s nothing even a little bit funny about Engleby. For his part, Faulks proves himself a true artist of the written word, his pen taking full command of his character and his audience alike. I recommend it, even if it may keep you up at night.