Piet Barol has an instinctive appreciation for pleasure and a gift for finding it. When his mother dies, Piet applies for a job as tutor to the troubled son of Europe's leading hotelier—a child who refuses to leave his family’s mansion on one of Amsterdam’s grandest canals. As Piet enters this glittering world, he learns its secrets and finds his life transformed.
A brilliantly written portrait of the senses, History of a Pleasure Seeker is an opulent, romantic coming-of-age drama set at the height of Europe’s Belle Époque, written with a lightness of touch that is wholly modern and original.
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Review
“Terrific. . . . The best new work of fiction to cross my desk in many moons.” —Jonathan Yardley, The Washington Post
“Mason’s novel is a gorgeous confection. . . . Piet is the rare character—the rare being—whose unfailing charm and luck only make us cheer him on more.” —The New York Times
“Just try to resist. . . . A Continental Downton Abbey plus sex, with a dash of Dangerous Liaisons tossed in.” —Seattle Times
“This book about pleasure is a provocative joy.” —O, The Oprah Magazine
“Think Balzac but lighter and sexier—an exquisitely laced corset of a novel with a sleek, modern zipper down the side.” —Marie Claire
“Superb. . . . [Mason’s] gorgeous, precise descriptions . . . mirror Amsterdam’s singular combination of material opulence and Calvinist severity. . . . After this auspicious introduction, many readers will be eager for the next volume.” —The Wall Street Journal
“[An] up-close mix of luxury, labor and longing—plus a country house's-worth of burbling romance.” —Los Angeles Times
“One of the best three books of the year.” —The Independent (London)
“A sharply written story of love, money and erotic intrigue pulsing behind the staid canal fronts of nineteenth century Amsterdam. Mason’s hero is amoral but irresistible. I was gripped till the very last page. Thank God there’s a sequel.” —Daisy Goodwin, author of The American Heiress
“If Charles Dickens and Jane Austen had a love child who grew up reading nothing but Edith Wharton and Penthouse Forum—well, that person might be almost as wry, sexy, and knowing a writer as Richard Mason.” —The Boston Globe
“A picaresque novel in the 18th-century tradition of John Cleland’s Fanny Hill: Memoirs of a Woman of Pleasure and Henry Fielding’s The History of Tom Jones. . . . Piet is a charmer.” —The Washington Times
“Piet Barol is a pure pulse of young manhood; not an everyman, but perhaps the fantasy everyman that every man would like to be.” —The Times Literary Supplement (London)
“[A] Belle Époque valentine.” —Vogue
“An enthralling, perfectly placed romp that breathes new life into the picaresque genre. . . . Piet Barol . . . looks set to become the star of a whole new series of books.” —The Observer (London)
“Exquisite. . . . History of a Pleasure Seeker is a showcase for [Mason’s] nimble writing, but also extends his storytelling prowess.” —Pittsburgh Tribune-Review
“[An] artful evocation of the European Belle Époque.” —The New Yorker
“Mason’s new novel—elegant, upholstered and, for all the sex, well-behaved—is part of a trend . . . for historical novels that seem not only set but written in the past—modern tracings, skillfully done, of old tropes, old forms.” —The Sunday Times (London)
“An elegantly written, sexy novel.” —The Daily Beast
“Edith Wharton would be impressed. . . . Lovely and rich.” —Entertainment Weekly
“Mason presides over History of a Pleasure Seeker like a benign god, rescuing his confused but well-meaning characters when they seem doomed and affectionately watching from a distance as they scramble to make satisfying lives.” —The Columbus Dispatch
“A masterpiece. Like Henry James on Viagra. Not only gripping as hell, but brilliantly arranges that the imagined world of Maarten and Jacobina’s household sits entirely within Amsterdam of the Belle Époque. I thought Piet was wonderfully drawn—roguish and yet wholly sympathetic.” —Alex Preston, author of This Bleeding City
--This text refers to an alternate Paperback edition.
“Mason’s novel is a gorgeous confection. . . . Piet is the rare character—the rare being—whose unfailing charm and luck only make us cheer him on more.” —The New York Times
“Just try to resist. . . . A Continental Downton Abbey plus sex, with a dash of Dangerous Liaisons tossed in.” —Seattle Times
“This book about pleasure is a provocative joy.” —O, The Oprah Magazine
“Think Balzac but lighter and sexier—an exquisitely laced corset of a novel with a sleek, modern zipper down the side.” —Marie Claire
“Superb. . . . [Mason’s] gorgeous, precise descriptions . . . mirror Amsterdam’s singular combination of material opulence and Calvinist severity. . . . After this auspicious introduction, many readers will be eager for the next volume.” —The Wall Street Journal
“[An] up-close mix of luxury, labor and longing—plus a country house's-worth of burbling romance.” —Los Angeles Times
“One of the best three books of the year.” —The Independent (London)
“A sharply written story of love, money and erotic intrigue pulsing behind the staid canal fronts of nineteenth century Amsterdam. Mason’s hero is amoral but irresistible. I was gripped till the very last page. Thank God there’s a sequel.” —Daisy Goodwin, author of The American Heiress
“If Charles Dickens and Jane Austen had a love child who grew up reading nothing but Edith Wharton and Penthouse Forum—well, that person might be almost as wry, sexy, and knowing a writer as Richard Mason.” —The Boston Globe
“A picaresque novel in the 18th-century tradition of John Cleland’s Fanny Hill: Memoirs of a Woman of Pleasure and Henry Fielding’s The History of Tom Jones. . . . Piet is a charmer.” —The Washington Times
“Piet Barol is a pure pulse of young manhood; not an everyman, but perhaps the fantasy everyman that every man would like to be.” —The Times Literary Supplement (London)
“[A] Belle Époque valentine.” —Vogue
“An enthralling, perfectly placed romp that breathes new life into the picaresque genre. . . . Piet Barol . . . looks set to become the star of a whole new series of books.” —The Observer (London)
“Exquisite. . . . History of a Pleasure Seeker is a showcase for [Mason’s] nimble writing, but also extends his storytelling prowess.” —Pittsburgh Tribune-Review
“[An] artful evocation of the European Belle Époque.” —The New Yorker
“Mason’s new novel—elegant, upholstered and, for all the sex, well-behaved—is part of a trend . . . for historical novels that seem not only set but written in the past—modern tracings, skillfully done, of old tropes, old forms.” —The Sunday Times (London)
“An elegantly written, sexy novel.” —The Daily Beast
“Edith Wharton would be impressed. . . . Lovely and rich.” —Entertainment Weekly
“Mason presides over History of a Pleasure Seeker like a benign god, rescuing his confused but well-meaning characters when they seem doomed and affectionately watching from a distance as they scramble to make satisfying lives.” —The Columbus Dispatch
“A masterpiece. Like Henry James on Viagra. Not only gripping as hell, but brilliantly arranges that the imagined world of Maarten and Jacobina’s household sits entirely within Amsterdam of the Belle Époque. I thought Piet was wonderfully drawn—roguish and yet wholly sympathetic.” —Alex Preston, author of This Bleeding City
--This text refers to an alternate Paperback edition.
About the Author
Award-winning novelist RICHARD MASON was born in South Africa and raised in England. He wrote his first novel The Drowning People the year before he went to Oxford. With the proceeds from the book’s success, he set up the Kay Mason Foundation, which helps disadvantaged children attend the best schools in Cape Town. In 2010 he broadened the KMF’s scope by founding an eco-project in the country’s Eastern Cape. The Lighted Rooms and History of a Pleasure Seeker are the first in a constellation of related novels. The next in the series will follow Piet Barol to South Africa’s Wild Coast. Mason lives between New York, Cape Town and Glasgow, Scotland.
www.richard-mason.org --This text refers to an alternate Paperback edition.
www.richard-mason.org --This text refers to an alternate Paperback edition.
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Customer Reviews
Most helpful customer reviews
2 of 2 people found the following review helpful
By Roger Brunyate
TOP 500 REVIEWER
Format:Hardcover
I enjoyed this immensely, though I began with some apprehension. The publisher's letter and excerpted reviews imply lush wallowing in sensual pleasure, including a great deal of sex, as a young man from the provinces finds a position in a rich Amsterdam household in the first decade of the last century, and apparently seduces everybody in sight. The picaresque genre has its charms, but it requires a very light touch. Well, Richard Mason has that touch, but his novel does not rest on style and sex alone; the blurbs are wrong, or at least incomplete. Piet Barol, the hero, is indeed handsome enough to be desired by both sexes, and talented enough to enter the household of rich hotelier Maarten Vermeulen-Sickerts as tutor to his son Egbert, and he does indeed begin by conscious use of his personal charm. But before he has actually seduced anybody in the house, he himself is seduced -- not only by the luxurious lifestyle of his employers, but also by their liberality in sharing it with him. Piet is a man of conscience; he feels gratitude and eventually even love. Though both the almost-adult daughters of the family make eyes at him, and Maarten's wife is not immune to his charms, Piet's career in the household is far from a serial sexual romp, and such sex as there is has very little to do with his own pleasure.
Egbert, the youngest of the family, suffers from severe obsessive-compulsive disorder, doing everything according to a secret agenda based on numbers, sequences, and repetitions. Though a gifted pianist (more so that Piet), he drives his way mechanically through Bach's Preludes and Fugues to placate his mathematical demons. He refuses to go outside. At first Piet neglects him, treating the job as a sinecure while he attempts to build a relationship with the others in the house. But soon his conscience demands that he address himself to Egbert also, and when Maarten is away for some weeks in New York (counterfactually building the Plaza Hotel), he gets his chance, winning the gratitude and affection of his employers, an affection that he most certainly returns. Piet is no predator, and though his time in the Amsterdam will not necessarily end in glory, he will have given something significant and beautiful to each member of the family.
This is a five-star book for sure, but only 9 on a scale of 10. One minor factor holding me back is that I don't believe that a tutor, sitting in the drawing room and dining at table with the family, would be assigned to sleep on the servants' floor (I certainly wasn't, in a similar position). Yet Piet's friendship with the footman Didier is also essential to the plot, and could not have been achieved in any other way. More serious is the issue of the last quarter of the book, which switches suddenly to an ocean liner en route to Cape Town. This involves a number of new characters and some other variants of erotic attraction. It is well enough done, but moves too rapidly to its resolution, seeming merely like a longish anecdote. But the rest is a true novel, showing the slow unfolding of a fabric of real lives warmed by the charisma of this catalytic figure. The Magritte painting used for the distinguished cover suggests that we never know who Piet really is. But that too is wrong: we do get to know him very well; more importantly, he reveals something in the lives of everyone whom he meets -- and that is high art.
======
Echoes of other novels abound in Mason's book, and it is fun trying to track them. The publishers mention Thomas Mann's BUDDENBROOKS, presumably for the lonely boy in a rich family. And also Evelyn Waugh's BRIDESHEAD REVISISTED, one of a number of books that portray rich folks through the eyes of the merely middle-class (THE GREAT GATSBY with family values, you might say). More recently, the book that comes to mind is Alan Hollinghurst's LINE OF BEAUTY, although Mason's novel has far less gay sex. An Amazon friend suggested Flaubert's SENTIMENTAL EDUCATION as a model; an even closer one would be Stendhal's THE RED AND THE BLACK. Patricia Highsmith's THE TALENTED MR. RIPLEY comes to mind, but while Piet Barol is also a musician, he can hardly be called a con-man. And though the picaresque and Don Juan genres are among the oldest, I am glad to say that the connection here is by allusion only. Oddly enough, the author who most came to mind was Ann Patchett in BEL CANTO, not for her situation, which is entirely different, but for her remarkable ability to set up situations that promise personal disaster yet head them off by an always-surprising access of grace.
Egbert, the youngest of the family, suffers from severe obsessive-compulsive disorder, doing everything according to a secret agenda based on numbers, sequences, and repetitions. Though a gifted pianist (more so that Piet), he drives his way mechanically through Bach's Preludes and Fugues to placate his mathematical demons. He refuses to go outside. At first Piet neglects him, treating the job as a sinecure while he attempts to build a relationship with the others in the house. But soon his conscience demands that he address himself to Egbert also, and when Maarten is away for some weeks in New York (counterfactually building the Plaza Hotel), he gets his chance, winning the gratitude and affection of his employers, an affection that he most certainly returns. Piet is no predator, and though his time in the Amsterdam will not necessarily end in glory, he will have given something significant and beautiful to each member of the family.
This is a five-star book for sure, but only 9 on a scale of 10. One minor factor holding me back is that I don't believe that a tutor, sitting in the drawing room and dining at table with the family, would be assigned to sleep on the servants' floor (I certainly wasn't, in a similar position). Yet Piet's friendship with the footman Didier is also essential to the plot, and could not have been achieved in any other way. More serious is the issue of the last quarter of the book, which switches suddenly to an ocean liner en route to Cape Town. This involves a number of new characters and some other variants of erotic attraction. It is well enough done, but moves too rapidly to its resolution, seeming merely like a longish anecdote. But the rest is a true novel, showing the slow unfolding of a fabric of real lives warmed by the charisma of this catalytic figure. The Magritte painting used for the distinguished cover suggests that we never know who Piet really is. But that too is wrong: we do get to know him very well; more importantly, he reveals something in the lives of everyone whom he meets -- and that is high art.
======
Echoes of other novels abound in Mason's book, and it is fun trying to track them. The publishers mention Thomas Mann's BUDDENBROOKS, presumably for the lonely boy in a rich family. And also Evelyn Waugh's BRIDESHEAD REVISISTED, one of a number of books that portray rich folks through the eyes of the merely middle-class (THE GREAT GATSBY with family values, you might say). More recently, the book that comes to mind is Alan Hollinghurst's LINE OF BEAUTY, although Mason's novel has far less gay sex. An Amazon friend suggested Flaubert's SENTIMENTAL EDUCATION as a model; an even closer one would be Stendhal's THE RED AND THE BLACK. Patricia Highsmith's THE TALENTED MR. RIPLEY comes to mind, but while Piet Barol is also a musician, he can hardly be called a con-man. And though the picaresque and Don Juan genres are among the oldest, I am glad to say that the connection here is by allusion only. Oddly enough, the author who most came to mind was Ann Patchett in BEL CANTO, not for her situation, which is entirely different, but for her remarkable ability to set up situations that promise personal disaster yet head them off by an always-surprising access of grace.
Format:Paperback
A bit of Upstairs-Downstairs, set in Amsterdam during the Belle Epoque, and a hilarious take on a young man’s sexual awakening. Quick, easy read for you ADHD types. The protagonist is a bit shallow and the sex is prolific, but readers shouldn't let that scare them off. It's all in good fun.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
3.9 out of 5 stars
108 reviews
43 of 46 people found the following review helpful
5.0 out of 5 stars
Modern day Sentimental Education...with some twists
Jan 3 2012
By switterbug
- Published on Amazon.com
Format:Hardcover|Amazon Vine™ Review
Young and charismatic Piet Barol is a hedonist with a purpose. He's turned pleasure into an art, like a jaunty Epicurean. In 1907, he leaves behind his austere beginnings in South Holland for the splendor of the rich and modern, via employment in a powerful family in Amsterdam. Although raised in lower-middle-class surroundings, his Parisienne mother imparted gentility and musical refinement to Piet before her premature death. His sensuous lips, striking physique, keen blue eyes and cultivated, easy charm ignites passion in others, and he is as resourceful as he is alluring.
With confidence and authority, Piet secures a position in the Vermeulen-Sickerts' household as ten-year-old Egbert's private tutor. Egbert's agoraphobia presents a challenge for Piet, who is paid well to teach and to hopefully "cure" him. From the moment he steps foot in their grand house, class distinctions are noted and deftly exploited by the agile and ambitious new tutor.
This promise of the title delivers, and the sex is candid. If you are turned off by explicit sexuality, you may want to reconsider this book. However, Mason writes with a poised pen and a light, poetic touch in this romp of rumps. It's ripe, but not vulgar, and he has a knack for regulating the sexual exuberance. In lesser hands, it would be meretricious and puerile, but he harnesses the narrative's carnal energy with a droll and nutty bite. The bi-curious Piet jettisons the limited definition of heterosexuality. He is a card-carrying lover of women, but he has a sensuous appreciation for the subtle bonds of carefree, liberated men.
This savvy novel of class and manners displays Piet's acumen for blurring divides and situating himself as a "guest" of the house. Barol quickly intuits the vulnerabilities of the domicile, including the servants, and makes an enterprise and métier out of his talent for soothing egos, from the bottom to the top. However, he is not without a nemesis. Daughter Louisa, a strong and independent woman who assesses him as a canny and insouciant opportunist, mistrusts his motives, although her sister Constance is mildly afflicted with his charms.
Maarten's anguish over his son blindly binds him to a severe and persecutory God. His religiosity is so extreme that it has become anathema to intimacy with his wife. There is more at stake here then just a pleasure seeker's desires. The sins of the father have infected the child. The author's understanding of Egbert's illness and its roots in Obsessive Compulsive Disorder (although the term isn't named in the book) were penetratingly accurate. What is even more profound is Mason's ability to illustrate a theory that I have always held: that fervent religiosity is also linked to OCD. He shows without telling.
Word has it that Mason intends to continue the adventures of Piet Barol in at least two subsequent books. Knowledge of that mitigates the appearance of a pat and abrupt ending here as the ship sails into South Africa. There is much potential for past liaisons to threaten Piet's future, and for his usual composure to careen as he walks a tightrope--which is an extended metaphor and a prime subtext of the narrative. The novel ends with a promise that pedigree, passion, and ambition will continue to quiver and clash in Piet Barol's pursuit and parlay of pleasure.
With confidence and authority, Piet secures a position in the Vermeulen-Sickerts' household as ten-year-old Egbert's private tutor. Egbert's agoraphobia presents a challenge for Piet, who is paid well to teach and to hopefully "cure" him. From the moment he steps foot in their grand house, class distinctions are noted and deftly exploited by the agile and ambitious new tutor.
This promise of the title delivers, and the sex is candid. If you are turned off by explicit sexuality, you may want to reconsider this book. However, Mason writes with a poised pen and a light, poetic touch in this romp of rumps. It's ripe, but not vulgar, and he has a knack for regulating the sexual exuberance. In lesser hands, it would be meretricious and puerile, but he harnesses the narrative's carnal energy with a droll and nutty bite. The bi-curious Piet jettisons the limited definition of heterosexuality. He is a card-carrying lover of women, but he has a sensuous appreciation for the subtle bonds of carefree, liberated men.
This savvy novel of class and manners displays Piet's acumen for blurring divides and situating himself as a "guest" of the house. Barol quickly intuits the vulnerabilities of the domicile, including the servants, and makes an enterprise and métier out of his talent for soothing egos, from the bottom to the top. However, he is not without a nemesis. Daughter Louisa, a strong and independent woman who assesses him as a canny and insouciant opportunist, mistrusts his motives, although her sister Constance is mildly afflicted with his charms.
Maarten's anguish over his son blindly binds him to a severe and persecutory God. His religiosity is so extreme that it has become anathema to intimacy with his wife. There is more at stake here then just a pleasure seeker's desires. The sins of the father have infected the child. The author's understanding of Egbert's illness and its roots in Obsessive Compulsive Disorder (although the term isn't named in the book) were penetratingly accurate. What is even more profound is Mason's ability to illustrate a theory that I have always held: that fervent religiosity is also linked to OCD. He shows without telling.
Word has it that Mason intends to continue the adventures of Piet Barol in at least two subsequent books. Knowledge of that mitigates the appearance of a pat and abrupt ending here as the ship sails into South Africa. There is much potential for past liaisons to threaten Piet's future, and for his usual composure to careen as he walks a tightrope--which is an extended metaphor and a prime subtext of the narrative. The novel ends with a promise that pedigree, passion, and ambition will continue to quiver and clash in Piet Barol's pursuit and parlay of pleasure.
24 of 26 people found the following review helpful
3.0 out of 5 stars
Mildly entertaining
Jan 1 2012
By Techie Evan
- Published on Amazon.com
Format:Hardcover|Amazon Vine™ Review
This novel opens in Amsterdam in 1907 and is divided into two parts, with the first part comprising about two-thirds of the relatively short novel (less than 300 pages).
In Part One, we see the main character, Piet Barol -- a good looking, recent college graduate with multilingual, musical, and artistic skills -- charming his way to employment with one of Amsterdam's richest, but also socially progressive, families as a live-in tutor to the family's only male child, Egbert, who is 10 years old and smart, but has quite a handful of psychological afflictions, including the fear of stepping out of the house for even just a moment. Barol's job is to further Egbert's education in the languages, music, and arts, as well as to coax him out of the house so that the future heir may partake in family outings.
Barol is first interviewed by Egbert's mother, Jacobina, who takes an immediate liking to -- and lust for -- him. Maarten, Jacobina's religious and now eccentrically celibate husband (the reason for this is explained in the novel), is similarly impressed. Barol gets hired and meets Egbert's beautiful, adult, and unmarried sisters, Constance and Louisa, as well as the household servants, two of whom -- the tall footman Didier and the slightly creepy, older butler Mr. Blok -- develop an immediate homosexual crush on him.
Against this backdrop of palpable sexual tensions that he immediately recognizes as favoring him, Barol intends to keep the cards he holds to himself and to play them adroitly. So it seems that the game is his to lose, but will he succeed or will he stumble?
In Part Two, we find Barol aboard a ship bound for South Africa. Soon after boarding, he realizes he has made a big mistake. Self-pity engulfs him, but he does meet an old ally, as well as new characters who have the potential to become allies or just additional conquests. The choices he makes can mean the difference between getting kicked out of the ship and left stranded in the middle of nowhere where the odds will overwhelmingly be against him, or making it to South Africa as planned where opportunities for pleasure seeking and, perhaps, even wealth building await him.
I thought the first part of the novel held many promising possibilities for interesting character and plot developments, so I was disappointed when the author apparently did not pursue those possibilities.
Had the author ditched the second part of the novel, which I thought merely changed Barol's sex partners and did not substantially add to character or plot development, in favor of using the freed up time and space to add more depth to the characters and color to the plot in what used to be the first part of the novel, the resulting novel might have had more substance and, therefore, appeal to readers like me who are looking for characters worth rooting for.
Sure, the author did a good job transporting me to what Amsterdam and America were like, at least to the super rich, during the earliest years of the twentieth century, and I did get a laugh or two at some of the characters' occasional missteps, silliness, foibles, and/or bravados, and descriptions of the sexual acts were tasteful and some were quite fun and arousing. But overall, I was indifferent to Piet Barol and the fate that awaits him should he fail or succeed at finding the pleasures he seeks, because I have not been given any good reason to care about him. Good for him if he gets rewards or favors for sex, but no boohoo from me if he doesn't.
The novel's ending suggests there might be a sequel or more. Here's hoping for a more fully developed Piet Barol and reasons to root for him!
In Part One, we see the main character, Piet Barol -- a good looking, recent college graduate with multilingual, musical, and artistic skills -- charming his way to employment with one of Amsterdam's richest, but also socially progressive, families as a live-in tutor to the family's only male child, Egbert, who is 10 years old and smart, but has quite a handful of psychological afflictions, including the fear of stepping out of the house for even just a moment. Barol's job is to further Egbert's education in the languages, music, and arts, as well as to coax him out of the house so that the future heir may partake in family outings.
Barol is first interviewed by Egbert's mother, Jacobina, who takes an immediate liking to -- and lust for -- him. Maarten, Jacobina's religious and now eccentrically celibate husband (the reason for this is explained in the novel), is similarly impressed. Barol gets hired and meets Egbert's beautiful, adult, and unmarried sisters, Constance and Louisa, as well as the household servants, two of whom -- the tall footman Didier and the slightly creepy, older butler Mr. Blok -- develop an immediate homosexual crush on him.
Against this backdrop of palpable sexual tensions that he immediately recognizes as favoring him, Barol intends to keep the cards he holds to himself and to play them adroitly. So it seems that the game is his to lose, but will he succeed or will he stumble?
In Part Two, we find Barol aboard a ship bound for South Africa. Soon after boarding, he realizes he has made a big mistake. Self-pity engulfs him, but he does meet an old ally, as well as new characters who have the potential to become allies or just additional conquests. The choices he makes can mean the difference between getting kicked out of the ship and left stranded in the middle of nowhere where the odds will overwhelmingly be against him, or making it to South Africa as planned where opportunities for pleasure seeking and, perhaps, even wealth building await him.
I thought the first part of the novel held many promising possibilities for interesting character and plot developments, so I was disappointed when the author apparently did not pursue those possibilities.
Had the author ditched the second part of the novel, which I thought merely changed Barol's sex partners and did not substantially add to character or plot development, in favor of using the freed up time and space to add more depth to the characters and color to the plot in what used to be the first part of the novel, the resulting novel might have had more substance and, therefore, appeal to readers like me who are looking for characters worth rooting for.
Sure, the author did a good job transporting me to what Amsterdam and America were like, at least to the super rich, during the earliest years of the twentieth century, and I did get a laugh or two at some of the characters' occasional missteps, silliness, foibles, and/or bravados, and descriptions of the sexual acts were tasteful and some were quite fun and arousing. But overall, I was indifferent to Piet Barol and the fate that awaits him should he fail or succeed at finding the pleasures he seeks, because I have not been given any good reason to care about him. Good for him if he gets rewards or favors for sex, but no boohoo from me if he doesn't.
The novel's ending suggests there might be a sequel or more. Here's hoping for a more fully developed Piet Barol and reasons to root for him!
12 of 14 people found the following review helpful
4.0 out of 5 stars
Fast, sensual and intoxicating read
Jan 18 2012
By Megan Snider
- Published on Amazon.com
Format:Hardcover|Amazon Vine™ Review
Richard Mason's HISTORY OF A PLEASURE SEEKER is a lush, sensuous and finely-wrought story of how, through charisma and seduction, one man is able to change an entire family and free them from their stuffy, well-made cages. In return, Piet is able to leave behind his poverty-stricken youth and seek all the pleasures to which he feels entitled as a self-made man.
I was initially attracted to this book because of a line drawn between it and F. Scott Fitzgerald's THE GREAT GATSBY, one of my favorite classics. After finishing HISTORY OF A PLEASURE SEEKER, I can see the parallels between the two. Though our setting here is The Netherlands, Piet functions as a sort of Gatsby-like anti-hero. I took turns loving and despising him, wondering if he possibly felt for the Vermeulen-Sickerts family or merely sought to snap off a piece of their prestige. That feeling morphed many times over, and I'm still not completely sure how I feel about Piet.
But, like the many characters in Mason's novel, it's hard not to be seduced by him. On the surface Piet is a talented pianist, an educated dreamer, a reliable employee. He's described as devastatingly handsome and all too aware of what his attractive physique can afford him from others. Whether everything is just an elaborate scheme to buy himself fortune, I'm not sure -- but I'm leaning toward not. At his heart, I don't think Piet was a cold and calculated gold digger. I think he was just a little tortured and entitled.
HISTORY OF A PLEASURE SEEKER was a fast, intoxicating read -- all due to Mason's command of language and dreamy, atmospheric writing. Though my interest waned slightly as Piet moved on from Amsterdam, I was still very invested in the plot and characters. The novel features several scenes steamy enough to make my cheeks flush, but I wasn't bothered by the erotic and hypnotic nature of the story. If you're easily offended by sexual content, I'd suggest tiptoeing around this one -- but those seeking a raucous, entertaining and sexy story of one social climber pawing his way to the top will find Richard Mason's novel goes down a treat.
I was initially attracted to this book because of a line drawn between it and F. Scott Fitzgerald's THE GREAT GATSBY, one of my favorite classics. After finishing HISTORY OF A PLEASURE SEEKER, I can see the parallels between the two. Though our setting here is The Netherlands, Piet functions as a sort of Gatsby-like anti-hero. I took turns loving and despising him, wondering if he possibly felt for the Vermeulen-Sickerts family or merely sought to snap off a piece of their prestige. That feeling morphed many times over, and I'm still not completely sure how I feel about Piet.
But, like the many characters in Mason's novel, it's hard not to be seduced by him. On the surface Piet is a talented pianist, an educated dreamer, a reliable employee. He's described as devastatingly handsome and all too aware of what his attractive physique can afford him from others. Whether everything is just an elaborate scheme to buy himself fortune, I'm not sure -- but I'm leaning toward not. At his heart, I don't think Piet was a cold and calculated gold digger. I think he was just a little tortured and entitled.
HISTORY OF A PLEASURE SEEKER was a fast, intoxicating read -- all due to Mason's command of language and dreamy, atmospheric writing. Though my interest waned slightly as Piet moved on from Amsterdam, I was still very invested in the plot and characters. The novel features several scenes steamy enough to make my cheeks flush, but I wasn't bothered by the erotic and hypnotic nature of the story. If you're easily offended by sexual content, I'd suggest tiptoeing around this one -- but those seeking a raucous, entertaining and sexy story of one social climber pawing his way to the top will find Richard Mason's novel goes down a treat.
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3.9 out of 5 stars
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