At age 29, Graham Greene was already publishing his fourth novel, Orient Express (also known as Stamboul Train). Perhaps it’s no wonder that his previous three novels were not that great; broadly speaking, it’s common that a novelist in his or her early or mid-twenties might not have settled on his or her own voice or style. But as one grows older, giving one’s craft time to develop, the grasp on nuance, subtlety, and tone becomes more firm. Orient Express finds Greene taking on an ensemble cast and a third-person omniscient perspective—the opposite of his near-claustrophobic debut. Where The Man Within could work easily as a play—you’d need no more than three sets and a cast of three main players—Orient Express is decidedly more filmic, which is not surprising given Greene’s love of the cinema.
You can almost see the credits rolling at the beginning of the book, as it opens at a train station in Ostend, where a purser helps a succession of distinct character types aboard the train: a young chorus girl, a wealthy Jew, and a mysterious mustachioed doctor. We meet each of these characters—Coral Musker, Carleton Myatt, and Dr. Czinner—from the perspective of a detached character who knows nothing but what he sees. This announces a new tack for Greene and sets the tone for the rest of the book, even as we get to know the characters better: Greene paints their disposition through their actions and appearance rather than their innermost thoughts. It’s a Creative Writing 101 lesson, but Greene didn’t really seem to embrace it until now. It also suits the mystery element of the novel. Immediately there are clues to take in, about the doctor in particular. The purser is surprised to learn that the doctor has an English passport, despite a noticeable accent. When Myatt encounters him later, he notes that the man’s clothes are torn and worn—not the clothing a man of means would wear.
Orient Express is most definitely working within a subgenre, the train mystery. Think Agatha Christie’s Murder on the Orient Express, or Alfred Hitchcock’s The Lady Vanishes. Putting your characters on a train just begs for mystery. But Greene’s mystery is not one of murder (though there is a murderer); it has more to do with identities, with a certain freedom from your own life you can enjoy while traveling. So long as your feet are not on solid ground, you can be whoever you like. Dr. Czinner is the first and most obvious example. He boards the train as Dr. Richard John, a schoolteacher from England. But we learn soon enough that he is actually a political exile returning to his home of Belgrade. As the train makes its three-day journey to Constantinople, stopping in Cologne, Vienna, and Subotica along the way, more passengers board the train, and each wear their masks. Josef Grünlich, who boards in Vienna, is a murder on the lam, so of course he hides his identity. The author Q. T. Savory has banked his career on appearing as a working-class Cockney, though the reporter Mabel Warren finds him transparent. Warren, who is a butch lesbian, suspects her lover, the beautiful, feminine, and fairly vacant Janet Pardoe, to be looking for a new sugar daddy (she’s tired of her sugar mommy, apparently); so Warren herself sets her sights on Coral Musker as new girl-toy. All of this speaks to an anything-goes mentality that only feels natural in the limbo of the locomotive.
This theme is played out in the relationship that serves as the heart of the novel, that of Myatt and Coral. This is the most tentative romance I’ve ever read; their entire relationship is built on mixed signals and misunderstood overtures—if ever two people fell in love, it’s these two. It is alternately awkward, sweet, creepy, noble, and cruel. Coral is a struggling chorus girl, flawed because she is “forgettable.” She is too plain to ever be a leading lady. Myatt meanwhile is a rich Jew, in an often unfortunately stereotypical sense. For reasons of both class and culture, the two should never meet nor fall in love. At first Myatt reminds Coral of any other Jew she’s ever met—they stand outside the stage door waiting to take her out; and after their first encounter Myatt has a dream in which he and a friend are driving down a boulevard looking for prostitutes and he chooses Coral. But nevertheless their lives intertwine on the train. Coral has a fainting spell so Myatt lets her sleep in his first-class berth; he sleeps in the hall. She suspects him but nevertheless takes him up on the offer. The following morning he buys another first-class berth for her out of charity. But she assumes he expects some quid pro quo. Still, she takes him up on it. When she alludes to his expectations he denies it, but now that the thought is in his mind, they do set a date for that evening after all. Both seem to approach the night with dread, despite spending the day together on the train. By the night, she’s declared her love for him; when Myatt realizes Coral is a virgin, their sexual act becomes more noble in his mind, and he too declares his love for her. They make plans to remain together once they’ve reached their destination. But of course, Constantinople is an actual place. It’s not limbo.
The other lead in the novel is Dr. Czinner, a Communist who narrowly escaped arrest and certain death five years previous and has never been heard from since. He is on his way back to Belgrade to lead an uprising. Unfortunately for him he is recognized by Mabel Warren. Warren is a fascinating character. She has the briefest ride on the train—she gets on at the second stop and is left behind at the third—yet she sets Czinner’s story in motion and plays a less direct but significant role in Myatt and Coral’s story as well. Greene has a great knack for making colorful and memorable characters out of people who occupy only a small number of pages—I’m thinking of Mr. Tench in The Power and the Glory or Albert Parkis in The End of the Affair. Warren is an alcoholic lesbian with major co-dependence issues. She’s full of spite and loathing and has the tenacity of a terrier. She is positive that Czinner is returning to Belgrade and bullies him into a story for her newspaper. He doesn’t cooperate beyond uttering a few words, but she publishes her story via phone from Vienna, and by the time he reaches Subotica the police and military are waiting.
Subotica, a town on the border of Hungary and Yugoslavia, is the penultimate chapter of the novel and is the real climax. The action leaves the train as Czinner is pulled for questioning—along with Grünlich and Coral (perhaps not incidentally, the most depraved and most pure-hearted of all the characters). This is the moment when the novel becomes a true potboiler, as the trio makes a daring escape after being found guilty of various crimes. This is also the moment where you realize Greene is better, more deft, than the preceding pages might have lulled you to believe. It is a tragedy that Coral has been wrapped up in this portion of the plot, and I didn’t realize until this point just how wrapped up I was in her story. I was screaming at her to stay put, the way you scream at characters on Lost to do the sensible thing.
This novel, like so many of Greene’s books, lives and dies by its plot twists, so forgive me if I become vague. Suffice it to say the fates of Czinner, Grünlich, and Coral are determined at Subotica. But the real tragedy of the book is its coda: Constantinople. This short, twenty-page chapter follows the remaining characters to the end of the line, and the whole thing is a brilliant dagger to the heart. Myatt, of all characters, is the ultimate embodiment of the novel’s theme. The Orient Express is a limbo where you can be whoever you want. But step off that train and your fantasies slough off like water from the shower. We are who we are: it’s a delicious tragedy.
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