Sole Without Joy Ends Gee’s Trilogy (Press, 16 July 1983)

In a review published on 16 July 1983, Margaret Quigley discusses Maurice Gee's novel "Sole Survivor," the third installment in his trilogy following the acclaimed works "Plumb" and "Meg." Quigley notes that "Sole Survivor" presents a starkly different atmosphere and perspective from its predecessors, which may come as a surprise to readers familiar with Gee's earlier narrative style. The trilogy explores the impact of family relationships on personal development, with each book offering a unique focus. "Plumb," set in New Zealand seventy years prior, highlights how a man's strong beliefs influence his actions in religion and politics. "Meg" shifts the focus to domestic life, while "Sole Survivor" returns to politics through the character of Raymond Sole, Meg's son and a journalist. However, the political landscape in "Sole Survivor" is markedly different, reflecting contemporary issues, and Raymond's character diverges significantly from that of his grandfather. Gee asserts that his writing encapsulates individual experiences rather than general truths, yet Quigley suggests that broader observations about New Zealand's political climate emerge throughout the narrative. The novel's central figure, Duggie Plumb, Raymond's cousin, embodies the ruthless pursuit of power, and Gee skilfully explores how Duggie's troubled upbringing shapes his character. The book addresses the complications of personal and familial relationships, revealing how these failures echo within the society's divisions. The narrative structure is intricate, featuring ironic parallels that enrich the story, which may initially appear as a continuation of the family saga. Each book in the trilogy stands alone artistically, yet they are interconnected through their exploration of different characters and circumstances. Quigley draws attention to contrasting responses to familial situations, particularly regarding homosexuality—highlighting Plumb's reaction to his son Alfred’s sexual orientation compared to Raymond's more accepting view of his daughter's lesbian relationship. Despite the thematic depth, Quigley characterises "Sole Survivor" as the most dispiriting of the trilogy, primarily due to Raymond's portrayal as an emotionally vacant character. The novel's tone is described as joyless, with dark humour overshadowing any levity. Unlike the faint notes of hope that conclude "Plumb" and "Meg," Raymond's acceptance of his circumstances reflects a more resigned worldview. The review concludes by acknowledging the craftsmanship of Gee's writing, despite issues with binding in the edition discussed. Quigley expresses appreciation for the trilogy's depth, complexity, and the compassionate yet ironic portrayal of New Zealand society and its individuals.

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