While Australian novelist Rod Jones’s first novel, Julia Paradise, set in 1920s Shanghai, could appear to be about the enigmatic, mysterious and deeply troubled wife of a missionary, the story is really about her Scottish physician/Freudian analyst/lover Kenneth Ayres. Given that Julia Paradise included an element of psychoanalysis, one of my pet subjects, plus the exotic allure of 1927 Shanghai, I read the blurb, and committed to the novel. Later I almost put the book aside, more of that later, but after concluding this novel, an uneasy, deeply disturbing read, it’s fair to say that author Rod Jones risks alienating his readers at one point with the very details which paradoxically entice analyst Kenneth Ayres into Julia’s intricate sticky web of deceit. Intrigued?… Read on…
It’s Shanghai 1927, and physician Kenneth Ayres, age 34, a man of considerable bulk at eighteen stone, lives at the Astor Hotel and spends time at the “Shanghai Club, to which he had been given a temporary membership which never quite became permanent and never quite expired.” His hotel apartment also conveniently serves as his consulting rooms, and it’s here he treats his female patients who seek his help for various “nervous disorders.” Ayres dominates the scene as he “propelled his bulk from the club and back to his hotel,” while on foot, he has to “stop often, panting for little rests.” This is a remarkably visual novel full of the terrifying memories of a childhood in the Duck River region of Northern Australia and the exotic sights and sounds of Shanghai. Of course, it’s exotic for the foreigners in Shanghai–not so much for the locals:
Rickshaw drivers had to struggle to get Ayres’ weight into motion in a stream of Shanghai afternoon traffic.
Apart from this comic and yet sad image (the underfed rickshaw driver dragging around a fat Scotsman who’s too out of shape to walk a few 100 feet), we immediately gain, or so we think, a very clear picture of Ayres. A bon vivant, and a great table companion for other westerners in Shanghai, he has three favorite topics of conversation: his home town of Edinburgh, his former professor Freud (Ayres’s beard increases the resemblance between the two men), and J.M. Barrie. Ayres specializes in the “treatment of nervous disorders” and after his wife died, he sailed for Australia, but “on a whim disembarked in Shanghai and had been there ever since.”
Socially, the British there treated him with a polite and deferential suspicion. It was as though, with his appointment book full of the names of their wives and their daughters and their cases of petit mal, hysteria and the nervous collapses which followed broken love affairs, he had learned quite enough of their secrets, and they tended to exclude him.
But is this the only reason that Ayres is held at a polite distance? There’s an early hint that there may be something else that keeps Ayres from being treated as a friend by other Europeans who live in Shanghai. Could it be his taste for pre-pubescent girls? For a Freudian therapist who is supposed to help his patients uncover the secrets locked in their subconscious, Ayres is a man whose self-awareness is remarkably shallow and righteously self-indulgent:
He knew well Freud’s remark that ‘some perverse trait or other is seldom absent from the sexual life of normal people’.
One day, Ayres observes a woman as she dashes into the hotel and just as frantically, exits. Then a moment later, she returns, a bundle of nerves, “panicky and disoriented” on the arm of her husband. The woman is Julia Paradise married to William Paradise, a Methodist minister, there to see Dr. Ayres. In the doctor’s consulting rooms, Julia’s story is told by her husband, and he describes Julia as a narcoleptic who during periods of drowsiness began spouting German, her father’s language. Sedatives were given and then withdrawn, and Julia became increasingly worse and more dysfunctional, hallucinating, swinging wildly between periods of withdrawal, and periods of creative energy during which she ran off to Shanghai with her camera to take photographs of the denizens who inhabit the seediest areas.
Initially Ayres sees Julia’s case as “common to the point of banality,” as he’s seen a steady stream of women who are “victims of their husbands’ ambitions in the colonial services.” To Ayres, for these women “the cure was as simple as a steamship ticket home.” The details of Ayres’s behaviour as he listened to Rev. Paradise reveal that Ayres, a man of enormous appetites, is hardly compassionate. He agrees to take the case, but there’s a sense of brutality and boredom to his acquiescence–what can Julia’s story contain that he hasn’t heard a thousand times before. But while Ayres doesn’t bother to hide his disinterest (after all, he’s the only game in town, so where else is Rev. Paradise going to seek help), it’s clear that Julia’s disintegrating behaviour is rooted in some deep, dark psychological disturbance.
The root cause of Julia’s mental problems is gradually revealed through her ‘sessions’ with Ayres. If there were any doubts about the doctor’s lack of integrity, those doubts are confirmed by his completely unprofessional, exploitive behaviour as the layers of this morphine-soaked tale reveal the horrors of incest.
There was a moment when I wasn’t sure I could continue with Julia Paradise. The vibes around the incest tale were so repulsive, I wasn’t sure if I wanted to read on. I mean, really… who wants to read about incest? As a subject, incest might be a deal-breaker for some readers, and while I understand that choice, I’ll add that incest is used here as a ‘tool,’ and it’s not until the novel is over that we realize exactly what we’re read, and exactly how we’ve been seduced along with Ayres. Julia Paradise is a very clever novel, and once past the incest, something shifts, and the novel becomes a different tale than we were originally led to believe. Julia’s tale of a past full of depravity, shrouded with images of death and decay, draws Ayres into her web, and he’s attracted to her malignant childhood and finds her “the most suggestible patient he had ever come across in his life.” Ayres is entranced with Julia, and completely and utterly seduced by her tale, his ego takes him along a path where his fate awaits him. We go along for the ride.
Julia Paradise, a tale which takes place against the upheaval of the Chinese civil war, and which examines the many layers of human exploitation, is a tale of moral redemption. Julia is a fractured human being, an enigma, and long after the tale is finished questions remain:
She was like a brilliantly-coloured jigsaw puzzle dismantled and spread across the floor of his mind. His thoughts continued to inhabit small sections of her life–or what he increasingly thought of as her ‘lives’. He talked aloud to her, pleading with her to clarify this point, to explain the apparent contradiction between this and that to make sense of the brutal pantomime he played over and over. In short, he became obsessed.
In terms of its exotic location and the theme of moral redemption Julia Paradise, reminded of Maugham’s wonderful novel, The Painted Veil, but for its insidious plot which examines the complexities of human sexuality, this book should appeal to fans of Jeannette Winterson.
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