The Blood Oranges

"Rich, evocative, highly original piece of fiction. It gilds contemporary American literature with real, not synthetic, gold." — Anthony Burgess

"Need I insist that the only enemy of the mature marriage is monogamy? That anything less than sexual multiplicity. . is naive? That our sexual selves are merely idylers in a vast wood?" Thus the central theme of John Hawkes's widely acclaimed novel is boldly asserted by its narrator, Cyril, the archetypal multisexualist. Likening himself to a white bull on Love's tapestry, he pursues his romantic vision in a primitive Mediterranean landscape. There two couples — Cyril and Fiona, Hugh and Catherine — mingle their loves in an "lllyria" that brings to mind the equally timeless countryside of Shakespeare's .

Yet no synopsis or comparison can convey the novel's lyric comedy or, indeed, its sinister power — sinister because of the strength of will Cyril exerts over his wife, his mistress, his wife's reluctant lover; lyric, since he is also a “sex-singer" in the land where music is the food of love.