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Overview
"A SKILLFUL BLEND OF CHARACTER, PHILOSOPHY AND NARRATIVE. . .Formidable personalities embroil themselves in ruthless power struggles that would make a corporate raider blush."
—The Washington Post Book World It is 1965, and Charles Ashworth has attained the plum position of bishop of Starbridge, an honor that keeps him in a heady whirl of activity that would exhaust the most seasoned corporate executive. With the invaluable support of his minions and his attractive, unsinkable wife, Ashworth stands against the amorality and decadence of the age—"Anti-Sex Ashworth." He slays his opponents by being a tough, efficient, confident churchman, the torments of his past long since dead and buried.
And then the unexpected, the unthinkable, strikes.
Suddenly Ashworth finds himself staring into the chasm of all the lies hes been telling himself for years: about his marriage, his children, even his views on the Church. And as he suspects his old nemesis and dean, Neville Aysgarth, of drinking too much, of financial chicanery, of—God forbid—having an affair, Ashworth discovers to his horror that he is tempted to commit the very acts that he has so publicly denounced. . . .
"ENTHRALLING. . .Rich, dense, almost indecently entertaining."
—San Jose Mercury News
"POWERFUL. . .MIRACULOUS."
—Booklist (starred review)
SELECTED BY THE BOOK-OF-THE-MONTH CLUB
In 1965, Charles Ashworth has become bishop of Starbridge, and a staunt opponent of amorality and decadence. Then he finds himself tempted to commit the very acts he has denounced.
Synopsis
"A SKILLFUL BLEND OF CHARACTER, PHILOSOPHY AND NARRATIVE. . .Formidable personalities embroil themselves in ruthless power struggles that would make a corporate raider blush."
—The Washington Post Book World It is 1965, and Charles Ashworth has attained the plum position of bishop of Starbridge, an honor that keeps him in a heady whirl of activity that would exhaust the most seasoned corporate executive. With the invaluable support of his minions and his attractive, unsinkable wife, Ashworth stands against the amorality and decadence of the age—"Anti-Sex Ashworth." He slays his opponents by being a tough, efficient, confident churchman, the torments of his past long since dead and buried.
And then the unexpected, the unthinkable, strikes.
Suddenly Ashworth finds himself staring into the chasm of all the lies hes been telling himself for years: about his marriage, his children, even his views on the Church. And as he suspects his old nemesis and dean, Neville Aysgarth, of drinking too much, of financial chicanery, of—God forbid—having an affair, Ashworth discovers to his horror that he is tempted to commit the very acts that he has so publicly denounced. . . .
"ENTHRALLING. . .Rich, dense, almost indecently entertaining."
—San Jose Mercury News
"POWERFUL. . .MIRACULOUS."
—Booklist (starred review)
SELECTED BY THE BOOK-OF-THE-MONTH CLUB
Publishers Weekly
The sixth and final volume in a series that began with Glittering Images, this novel again displays Howatch's ability to meld an involving, character-driven story with a larger theme, that of spiritual quest and fulfillment. This time, however, the centrality-and discussion-of ecclesiastical issues tends to slow the narrative. The book is set during the mid-1960s, the period during which the Church of England-not to mention the rest of the country and beyond-was rocked by widespread challenges to tradition. Again representing tradition is narrator Charles Ashworth, the Anglican Bishop of Starbridge, who promotes the so-called Middle Way, a half-and-half mixture of Catholicism and Protestantism. Ashworth's archenemy-and doppelgnger-is Neville Aysgarth, the Dean of the Cathedral who is, according to Ashworth, unorthodoxly open to using the trappings of a capitalistic marketplace to benefit the financially deteriorating church building. To make matters worse, Aysgarth is an alleged dipsomaniac and womanizer, who once made a pass at Ashworth's beloved wife, Lyle. When Lyle dies suddenly, the bereaved widower strays dangerously from the fold, but he does not experience a redemption-through-repentance journey as dramatic as those of Arthur Dimmesdale or Raskolnikov. Which isn't to say that Ashworth doesn't suffer, but his enlightenment is far less dramatic and therefore less convincing than those literary prototypes, and it's unsettling that at the end he still thinks skeletons in the cupboard can be exorcised through intellectual speculation. Lucidly written for those who have not read the other volumes, Absolute Truths should prove to be a satisfying finishing stroke for those who have. BOMC alternate; author tour. (Jan.)