The standard heading of Reid’s Reader says that there will sometimes be guest reviewers.
Readers are welcome to e-mail me, or to contact me with their e-mail address
via this site, if they wish to submit a review of a book new or old about which
they are dying to inform the world – or at least inform the readers of Reid’s Reader.
As
the site celebrates its first year, we for the first time give a review by a
guest reviewer. Christopher Reid, retired civil servant of Wellington, reflects
on a favourite children’s book which has far more adult resonance than most.
“THE THIRTEEN CLOCKS” by
James Thurber (first published 1951)
REVIEWED BY CHRISTOPHER REID
I was barely into
adolescence when my father, on his return from the United States, brought back
for me as a present James Thurber’s The
Thirteen Clocks, just one year after its first publication in 1951.
Thurber begins as with
traditional fairy or folk tales “Once
upon a time, in a gloomy castle, on a lonely hill, where there were thirteen
clocks that wouldn’t go, there lived a cool, aggressive duke and his niece, the
Princess Saralinda.”
The cold duke has
frozen the clocks because time is frozen there. He sets impossible tasks for
suitors of the princess to complete. Just to be on the right side of villainy,
he slays people for all sorts of slights, including people who use names
starting with the letter X. In true folk tale fashion, a prince calls himself
Xingu in order to announce his defiant challenge to the duke.
The duke gives the
prince, disguised as a minstrel, impossible tasks such as slaying the thorny
Boar of Borythorn which is hard “because
there is no thorny Boar of Borythorn”. Xuingu is assisted by an amiable old
man called The Golux who is a faithful but not very useful ally.
Realising that the duke
loves jewels the prince and The Golux trick him into requesting they get him a
thousand jewels. The Golux and the prince go in search of a fabulous woman
whose tears, when she weeps, turn into jewels. The only problem is that if her
tears are of laughter they turn back into water. The difficulty, also, is that
she never weeps at things that are real and could be. Eventually, by a ruse,
the prince and the Golux get her to produce jewels they take back to the duke,
who has to admit defeat. Saralinda and Prince Zorn ride away to a happy ending.
Thurber wrote and
published three books for children before The
Thirteen Clocks and one after it, to wit Many Moons (1943), The Great Quillow (1944), The White Deer (1945) and The
Wonderful O (1956). They all have
the whimsy and humour one associates with Thurber such as in his short piece for adults The
Unicorn in the Garden. One of his
stories for children, The White Deer,
even has a plot about princes on a quest to obtain what they desire, similar
to, and almost anticipating, The Thirteen
Clocks.
Yet The
Thirteen Clocks is startlingly
different from the others.
My original edition has
the illustrations by Marc Simont, an artist friend of Thurber’s. Thurber’s
eyesight got progressively worse over the years so that he had to draw his
cartoons with a thick crayon on paper three times the size of AC. By the time
he wrote The Thirteen Clocks he was
completely blind so Simont had to produce each illustration exactly as Thurber
stipulated.
Thurber’s failed
eyesight, eventual blindness and attendant horror at loss surely influenced his
opening description of the evil duke:
“He wore gloves when he was asleep and he wore gloves when he was awake,
which made it difficult for him to pick up pins or coins, or to tear the wings
from nightingales. He was six feet four, and forty-six, and even colder than he
thought he was. In one eye he wore a velvet patch, the other glittered through
a monocle, which made half of his body seem closer than the other half. He had
lost one eye when he was twelve, for he was fond of peering into nests and
lairs in search of birds and animals to maul. One afternoon, a mother shrike
mauled him first. His nights were spent in evil dreams, and his days were given
to wicked schemes.”
The passing of a
creature called the Todal is sensed rather than seen, too quick for the eye “like the movement of rabbits and shadow
[and] it makes a sound like rabbits
screaming and smells of old unopened rooms”. Should the prince succeed, the
Todal will “glub” the duke because it
was sent to punish evil doers “for having
done less evil than they should”.
Invisible hands draw swords. We do not learn what glubbing is but it is
obviously an unseen horror in waiting.
Relying less on the
visual description, Thurber’s tale employs effectively such auditory almost
poetic effects as the onomatopoeia of “from
the sky came the crying of flies, and the pilgrims leaped over a bleating sheep
creeping knee deep in a slippery stream in which swift and slippery snakes slid
and slid silkily, whispering sinful secrets”.
I do not want to leave
the impression that The Thirteen Clocks
is predominantly a “Gothic terror for kids”.
Thurber originally wrote it for the young daughter of friends, and like
any good writer of tales for children he knew how much of the scary a child can
take and did not patronise her or under-estimate her intelligence.
Indeed it contains
several humorous, yet almost philosophical, paradoxes. The duke has frozen the
clocks because Time is always Then and never Now and the duke is afraid of Now
for “it has warmth and urgency, and Then
is dead and buried.” The prince is not much attracted by Princess Saralinda
but more because he is “weary of rich
attire, banquets and available princesses in his own kingdom” he decides to
compete for her hand and that, oddly, is why he succeeds when others
failed. The reason The Golux is not
always a useful ally for the prince is because “I resemble only half the things I say I don’t and the other half
resemble me.” However, he provides the solution to making the clocks go,
when the duke’s magic has frozen them and frozen time and this magically prevents
the prince escaping with the princess.
The Golux points out that “if you
can touch the clocks and never start them, then you can start the clocks and
never touch them, and that’s logic.” And logically the prince and princess
ride away.
The Thirteen Clocks is one of those works, intended originally as
an affectionate parody, that strangely enough epitomises the genre far more
effectively than any serious versions. That is why it remains special for me
and why I return to it with affection from time to time.