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Bertie Wooster (a young man about town) and his butler Jeeves (the very model of the modern manservant)—return in their first new novel in nearly forty years: Jeeves and the Wedding Bells by Sebastian Faulks.
P.G. Wodehouse documented the lives of the inimitable Jeeves and Wooster for nearly sixty years, from their first appearance in 1915 ("Extricating Young Gussie") to his final completed novel (Aunts Aren't Gentlemen) in 1974. These two were the finest creations of a novelist widely proclaimed to be the finest comic English writer by critics and fans alike.
Now, forty years later, Bertie and Jeeves return in a hilarious affair of mix-ups and mishaps. With the approval of the Wodehouse estate, acclaimed novelist Sebastian Faulks brings these two back to life for their legion of fans. Bertie, nursing a bit of heartbreak over the recent engagement of one Georgina Meadowes to someone not named Wooster, agrees to "help" his old friend Peregrine "Woody" Beeching, whose own romance is foundering. That this means an outing to Dorset, away from an impending visit from Aunt Agatha, is merely an extra benefit. Almost immediately, things go awry and the simple plan quickly becomes complicated. Jeeves ends up impersonating one Lord Etringham, while Bertie pretends to be Jeeves' manservant "Wilberforce,"—and this all happens under the same roof as the now affianced Ms. Meadowes. From there the plot becomes even more hilarious and convoluted, in a brilliantly conceived, seamlessly written comic work worthy of the master himself.
A Kirkus Reviews Best Fiction Book of 2013
- Sales Rank: #490079 in eBooks
- Published on: 2013-11-05
- Released on: 2013-11-05
- Format: Kindle eBook
From Booklist
*Starred Review* What, ho?! This blighter Faulks, after making a reasonably good show of posing as Ian Fleming (Devil May Care, 2009), has the unmitigated gall to take a run at impersonating the inimitable P. G., the very incarnation of sui generis? Doesn’t he know that Wodehouseans far and wide, well born and less so, will be sharpening their incisors for the chance to take a chomp at the hindquarters of the cheeky upstart? But wait. Hold off, old sports. Young Faulksie just may have the gray matter to make a go of it. The first order of business when attempting to offer homage to Sir Pelham Grenville is to construct a plot as screwball crazy as anything Shakespeare ever concocted in the Forest of Arden (disguises, mistaken identities, catastrophic kerfuffles all de rigueur); next is to plop bumbling aristocrat Bertie Wooster in the middle of the muddle; and, finally, of course, it’s necessary to set Bertie’s unflappable manservant, the all-knowing Jeeves, to the herculean task of making it all work. Faulksie’s plot is spot on: Bertie’s pal, Peregrine Woody Beeching, has been dumped by his beloved, but Bertie is on the case. The plan, for reasons only a savvy Hegelian could fathom, involves Bertie posing as a manservant and Jeeves as his master. Brilliant stroke, that, allowing Jeeves to show his stuff at dinner-table chitchat and Bertie to, well, spill the gravy. Naturally, it all takes place at a country house (Wodehouse’s Forest of Arden), and, equally naturally, Miss Georgiana Meadowes, who makes Bertie’s heart go pitty-pat, is also in attendance. OK, fine, this P. G. poseur gets the plot right, but what about the all-important patter, the Bertie-isms and the priceless Bertie-Jeeves dialogue duets? But Faulksie nails it again, evoking rather than imitating, but doing so in perfect pitch. Finally, old-timers will doubtless recoil in horror at the shocking conclusion, but let’s all loosen our stuffed shirts and let the new guy have his way. Top drawer. HIGH-DEMAND BACKSTORY: Expect major media attention for the return of Bertie and Jeeves. --Bill Ott
Review
"It is a wonderfully happy book." Guardian "This light-hearted romp is delightfully witty, packed with puns and boasts a few phrases that Wodehouse himself would have deemed top-hole. Splendid stuff." Sunday Mirror "The finished product resembles, in all but cover, a traditional Wodehousian yarn. Harking back to the summer of 1926, it is a gentle, jolly tale - of farce and mistaken identity, of love lost and found, of cricket matches, village fetes and the eccentric upper classes." Telegraph "At two memorable moments in Jeeves and the Wedding Bells I did indeed laugh until I cried... Jeeves and the Wedding Bells is a masterpiece... This is a pitch-perfect undertaking: proof, almost a century after his debut, that Jeeves may not be so inimitable after all." Spectator "The plot is satisfyingly convoluted in the best Wodehouse tradition ... A genuine addition to my growing Wodehouse collection and there is no higher tribute." Daily Express "He catches the Wodehousean idiom, periphrasis, surreal similes and bally silliness to a T, all done with love. Please commission a dozen more, Hutchinson." Literary Review "From the first page of Sebastian Faulks's entirely delightful book ... we are transported to Wodehouse land. All the details, of plot, of character, and of setting, are lovingly drawn. The hours spent reading Jeeves and the Wedding Bells are pure pleasure." Financial Times "Faulks has caught the mood and the dialogue perfectly" Sunday Express
About the Author
SEBASTIAN FAULK's books include the number one bestseller A Week in December, A Possible Life, Human Traces, On Green Dolphin Street, Charlotte Gray and Birdsong, which has sold more than three million copies. In 2011 he wrote and presented the four-part television series Faulks on Fiction for BBC Two.
Most helpful customer reviews
54 of 64 people found the following review helpful.
Many are called but few are Wooster
By Lonya
And even fewer are Wodehouse. Great literary characters don't always die after the creator moves on to the great publishers' clearing house in the sky. Perhaps the more beloved the character the more of a need there is to create a fresh adventure for them. There has been no shortage of homages to Sherlock Holmes or James Bond for example. It should be no surprise that most of these efforts are unsuccessful. At best they seem like pale imitations of the original and at worst they tarnish your memory of the character(s) you came to know and love. There are many talented Elvis impersonators out there but no matter how good no reasonable listener would mistake the latter for the real thing. Sebastian Faulks has entered this arena (as he has apparently done with James Bond) and penned "Jeeves and the Wedding Bells" and he's made a very good job of it. In the vernacular of Bertie Wooster there were parts of the book that made me feel pretty bobbish. That said, I think there were a couple of areas, one minor and one major, that didn't quite work for me. All in all, I did enjoy the book. It was a fun story to read and had many of the antics that fans of Jeeves and Wooster have come to know and love. But it isn't quite Wodehouse. I don't know who could be, but it was a good effort nonetheless.
Trying to sort out the plot line in a Jeeves and Wooster story is something of a fool's errand. As with Wodehouse's own stories this one has too many comedic twists and turns to be summarized without spoiling the entire plot. I think it fair to highlight two interesting plot points. First, romantic entanglements, engagements, and romantic misunderstandings are center stage as they often were in the original. Second, the book opens with Wooster playing butler to Jeeves. (That should not be a spoiler as that is how the story opens. Faulks plays this switcheroo to good effect.
There was a lot to like about Jeeves and the Wedding Bells. First, Faulks is no "Elvis impersonator". Far from it. I think for the most part (more on this later) he has stayed true to the essential character of Jeeves and Wooster. Jeeves is the erudite valet , a true renaissance man whilst Wooster remains the empty-headed if likeable and well-intentioned man about town who has reached his station in life purely by accident of birth. In addition to reading and very much enjoying Wodehouse throughout my younger years I also adored Hugh Laurie's and Stephen Fry's wonderful television adaptation, Jeeves & Wooster: The Complete Series. I think Laurie and Fry did for Wooster and Jeeves what Leo McKern did for Rumpole: take a character and make it his own. Picturing Fry and Laurie as I read the book actually did add to my enjoyment of the story.
There were also a couple of downsides for me. Wodehouse's use of language, particularly this highly-exaggerated, stylized, and comedic usage of Wooster always struck me as a satire on a dialect that was still alive amongst some portion of the upstairs classes of Wodehouse's day. It likely never existed in that form but it was a take of contemporary or at least a recent speech patter. Faulks does not have the benefit of `riffing' on contemporary speech patterns and has to rely on trying to recreate a dialect based solely on Wodehouse's writing. I think there were a few instances in the story where certain phrases and stylings sounded a bit jarring. The fact that I only noticed that sparingly is to Faulk's credit.
Last but not least is the ending. Wodehouse never sought closure for Jeeves and Wooster. Each story left each of them unchanged and unmarked by the passage of time and events. Faulks has not done that here and I'm not at all sure he took the right approach.
All in all I was pleasantly surprised that I enjoyed the story even with the above-noted downsides. It was an enjoyable story even if it wasn't just quite the same as the original. How could it be? The book has moments when it comes close and I think that makes it worth reading.
L Fleisig
15 of 17 people found the following review helpful.
Laughing out loud in pleasure and surprise at the deftness of Faulks’s clever storyline
By GraphicNovelReporter.com
Any reservations I may have had about Sebastian Faulks doing justice to P.G. Wodehouse were canceled on page one. Bertie Wooster’s alarm clock shrieks him into wakefulness, he curses and shoves the wretched thing beneath his mattress, and regrets having too little of “nature’s sweet restorer,” as Jeeves calls it. Bertie is in a pickle because he is trying to help a friend and must turn to Jeeves for advice. Faulks has caught him: Bertie is back.
Bertie explains the complex plot that has put Jeeves into the drawing room of Melbury Hall and the driver side of the Wooster two-seater, while he remains below as the manservant and the passenger. He will steal the well-thumbed volumes of peerage and baronetage (to protect Jeeves’s impersonation of Lord Etringham), and bring in ringers for a vital cricket match. All the while, he little knows “what the lead-filled sock of fate” has in store for him. It is an excellent Wodehousean beginning.
Faulks has kept the Wooster outrage intact. When Jeeves suggests that members of the serving class wear a pair of side-whiskers, Bertie takes umbrage. Sort of. “There are times to take offence, but this was not one of them. I left my high horse unmounted --- though tethered pretty close.” He continues with his plan.
And Bertie’s perfect assessment of his formidable aunts and other large matrons of society remains intact. “If you were a Sumerian tablet beneath Dame Judith’s scrutiny, one imagined, you would give up your secrets pretty quick, cuneiform or not.” His Aunt Agatha does not appear in JEEVES AND THE WEDDING BELLS, but her impending visit is an impetus for Bertie and Jeeves to leave for the country.
Always important for a reader’s quiet delight, Bertie’s references to the classics remain in this homage. Under the influence of “the liquid contents of Sir Henry’s ottoman” or, more precisely, the cognac, at the end of the final day of masquerading as Jeeves’s manservant, Bertie must gain entrance to Melbury Hall. His thoughts run to Macbeth about the “odds on the raveled sleeve of care being knitted up to any appreciable extent,” but it does not matter who is awake or asleep. His ill-conceived appearance at the wrong window frightens the household.
Later, Jeeves is revealed as “the willing Pandarus” while Bertie makes sense of the adventure. Even though Jeeves must annotate the references, Bertie is more literate than he knows. Jeeves is still the master of deduction, understatement and advance planning. Almost before it happened, he knew “there was only one candidate for the role of rooftop intruder wrapped in a builder’s dust sheet.”
Most importantly, Bertie’s inherent sweetness and gallantry are left intact. Almost unbeknownst to himself (but not the ever-hopeful reader), he has fallen in love with a girl who loves him in return. It would seem that nothing could be simpler, but there is no simple in Bertie’s world. Faulks brings a heart-beating passion threatening to “burst the buttons” from his shirt, which had eluded him throughout the Wodehouse novels.
Bertie’s genuine affection for Jeeves is also still evident as he asks why Jeeves has helped him along the circuitous path to true love. But he already knows why. “It occurred to me at that moment that the answer was obvious…. I had begun to feel a slight pressure behind the eyes and an odd thickening of the throat.” The British aristocracy that Wodehouse knew and detailed so brilliantly is gone, but the line of position is blurred completely as Bertie articulates the warmth of his and Jeeves’s friendship.
The title JEEVES AND THE WEDDING BELLS hints at the finale, but we still blunder along with Bertie, laughing out loud in pleasure and surprise at the deftness of Faulks’s clever storyline and the faithfulness to Wodehouse’s best-known characters.
Good show.
- Jane Krebs
37 of 46 people found the following review helpful.
The return of the classic duo
By Michael Birman
I've read every Jeeves and Wooster novel and short story as well as all of the Blandings novels. To say that I'm a fan of both series and their creator P.G. Wodehouse is an understatement. When I heard that author Sebastian Faulks had written a new Jeeves and Wooster novel I was both thrilled and concerned. Wodehouse was a comic genius, the finest writer of comic novels the world has yet seen. To emulate his style is to attempt to write a perfect souffle: something that is lighter than air and containing astonishing grace and wit. I thought that it would be impossible to capture the essence of the Wodehouse perfection and so I was concerned. But to have another Jeeves and Wooster novel is tempting so I applauded the effort. Jeeves and the Wedding Bells manages to capture something of the Wodehouse style but not its essential wit and grace. Faulks is an excellent writer but he is not a comic genius. He reproduces a semblance of the smart Jeeves and Wooster dialog as well as some stylistic similarities that lovers of Wodehouse will recognize. Ultimately, however, Faulks creates a palimpsest of Bertie and Jeeves and fails to reproduce that timeless lighter-than-air grace that Wodehouse seemed to create so effortlessly. You can enjoy Jeeves and the Wedding Bells as a novel that is a great deal of fun to read but true Wodehouse aficionados will quickly miss the touch of the master.
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