The Oldest Confession

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The Oldest Confession
TheOldestConfession.jpg
First edition cover
Author Richard Condon
LanguageEnglish
Publisher Appleton-Century-Crofts
Publication date
April 28, 1958 [1]
Publication placeUnited States
Media typePrint

The Oldest Confession is a 1958 novel, the first of twenty-five by the American political novelist and satirist Richard Condon. It was published by Appleton-Century-Crofts. The novel is a tragicomedy about the attempted theft of a masterpiece from a museum in Spain. It can be classified as a caper story or caper novel, a subset of crime novels. [2] The book deals with issues of money, greed, ethics and morality. [3] It was adapted into a film retitled The Happy Thieves . [4]

Contents

Title

The title is inspired, as many of Condon's quotes, from The Keener's Manual , the fictional book he had also written.

The epitaph to this first novel, which appears on the title page of the first American hardback edition, reads in its entirety:

The Oldest Confession
Is one of Need,
Half the need Love,
The other half Greed [5]

Characters

Main Characters

"... Victoriano Munoz certainly deserved to die for what he had done in my first novel.... The admirable Duchess of Dos Cortes, who murdered him, was very religious, and I was her old deity, poor woman. She implored me for permission to kill him for his most heinous crimes against her, and I had to so rule." [7]

Other Characters:

Plot

Goya's Dos de Mayo, the object of James Bourne's plot El dos de mayo de 1808 en Madrid.jpg
Goya's Dos de Mayo , the object of James Bourne's plot

The plot of The Oldest Confession follows Doña Blanca Conchita Hombria y Arias de Ochoa y Acebal, Marquesa de Vidal, Condesa de Ocho Pinas, Vizcondesa Ferri, Duquesa de Dos Cortes, a 29-year-old beauty who was married to an aged degenerate and becomes the wealthiest woman in Spain upon his death, and owner of the paintings inside her residence. The long-forgotten paintings are coveted by American criminal James Bourne, who regularly steals paintings across Spain from his hotel in Madrid. With every painting he replaces the original paintings with forgeries executed by Jean Marie Calvert, a Parisian artist who is the world's greatest copyist.

Painted in Paris, the reproductions are brought into Spain by Bourne's wife, an upper-class young American girl named Eve Lewis, who loves Bourne in spite of his criminality. Bourne is introduced, stealing three masterpiece paintings from his supposed friend, the Duchess of Dos Cortes, and arranges for his wife to smuggle them to Paris for a highly profitable sale. When she arrives in Paris, however, she discovers that the mailing tube in which the paintings were being carried is now empty. The book then focuses on the downward spiral of Bourne and his associates.

Bourne, though considering himself a master criminal, is tracked by others. Bourne is coerced by Dr Victor Muñoz into the seemingly impossible task of stealing one of the world most famous masterpieces, the Dos de Mayo (or Second of May or Charge of the Marmelukes) by Francisco de Goya, from its tightly guarded quarters in the national museum of Spain, the Prado.

Bourne, double crossed by Victor, is subsequently killed by the Duchess of Dos Cortes in revenge for the death of her lover, Jimenez. Jean and James are caught and arrested, both being sentenced to life for the theft.

Concept and creation

In 1955, Condon, then 40 years old and a longtime New York publicist and Hollywood employee of various studios, was the publicity agent for The Pride and the Passion , a film starring Frank Sinatra and Sophia Loren being shot in Spain. As he writes in his memoir, And Then We Moved to Rossenarra , he was present at a scene being filmed in the ancient rectory of the Escorial, the massive palace and cathedral outside Madrid. The enormous lights needed to film the scene [8]

"revealed dozens upon dozens of great masterpieces of paintings that had not been seen for centuries, hung frame touching frame—the work of Goya, Velasquez, the great Dutch masters, and the most gifted masters of the Italian Renaissance.... The idea of masterpieces of Spanish painting hanging in stone castles all over Spain, high and invisible in the darkness, stayed with me and gradually formed itself into a novel called The Oldest Confession....

Back in New York, Condon began turning his initial concept into a screenplay—until his wife pointed out, that he was writing it in the past tense instead of the present, which is obligatory for screenplays, and that it should be turned into a novel. Condon followed her advice and the book was published to favorable reviews not long afterwards. [9]

Publication and the movies

Even before it was published in April 1958, twelve film companies had initiated talks about purchasing rights to it. In a brief mention in The New York Times about the forthcoming book, "Condon explained without divulging details of the plot, [the theme] 'Is one of need. Half the need, love. The other half, greed.'" [10] The movie version was released in 1962 as The Happy Thieves , starring Rex Harrison and Rita Hayworth, and was dismissed by The New York Times as a "limp herring" of "the devastating first novel". [11]

Style and Condonian quirks

The duchess was ... a tribal yo-yo on a string eight hundred years long.... [12]

Bourne always sat uncommonly still ... a monument to his own nerves which bayed like bloodhounds at the moon of his ambition. [13]

... the giant gestures of throwing the ball from the long baskets as Van Gogh might have tried to throw off despair only to have it bound back at him from some crazy new angle. [14]

... the duchess [inherited] the ownership of approximately eighteen per cent of the population of Spain inclusive with farms, mines, factories, breweries, houses, forests, rocks, vineyards and holdings in eleven countries of the world including shares in a major league baseball club in North America, an ice cream company in Mexico, quite a few diamonds in South Africa, a Chinese restaurant on Rue François 1er in Paris, a television tube factory in Manila, and in geisha houses in Nagasaki and Kobe. [15]

"It is greed with a social sense removed because what is there to be taken must be taken by the criminal consistent with his inner resources, eliminating envy, a much smaller sin." [17]

The crowd rioted at the bull ring.... Two children and one woman were trampled to death; twenty-six persons were injured, nine seriously. Two men, seated sixty yards apart in separate sections of the plaza, had been pointed at as having thrown the knife but miraculously had been saved from the mob by courageous police. [18]

Critical appraisal

Gerald Walker, in the Sunday book review section of The New York Times of June 22, 1958, wrote a favorable review called "Urbane Insiders". It managed to completely avoid giving his readers much more than a cursory clue as to what the book was about. One of his paragraphs (omitted here) was devoted to another, earlier work by another author about art forgeries, but, aside from that hint, his review is little more than generalities. It was, nevertheless, a fine inaugural reception in a most important media outlet for a hitherto unknown 43-year-old author:

Unlike most other first novels, Richard Condon's is a fully controlled job of writing rather than an ardent grope. Written throughout with painstaking grace, not one scene or description is ever thrown away or treated in a commonplace manner. Everything is handled, and handled well, from the viewpoint of the cosmopolitan insider who knows everything there is to know about such urbane things as art critics, European customs inspectors, wire services, bullfights and fine food and drink.


And yet the one thing the author is unable to convey is any feeling of depth, of real mortality unfolding before the reader. The deterioration of James Bournes, Ivy League master criminal, is singularly unmoving even as one stunningly dramatic scene or ingenious plot-turn follows another....

If, the next time out, he can manage to open up and write more personally without marring his exceedingly refined sense of literary form, then we shall really be seeing a book. As things are now, no apologies are necessary to anyone for this is quite an impressive debut. [22]

Charles Poore, however, writing two months earlier in the daily Times, contented himself with a long synopsis of the story, finding "... a murderous sort of zaniness to Mr. Condon's plot" and remarking that "With a technique that requires all surprises and revelations to be undermined by fresh surprises and revelations, Mr. Condon spins everyone deeper and deeper into the plot." [23]

Time, the leading mid-brow American weekly for most of the 20th century, did not review The Oldest Confession. Over the next 30 years, however, they mentioned it at least six times, always favorably, and frequently as containing superior qualities that Condon's later novels generally failed to meet:

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References

This article incorporates material from the Citizendium article "The Oldest Confession", which is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License but not under the GFDL.
  1. "Books Published Today". The New York Times : 20. April 28, 1958.
  2. "Crime Genre: MacGuffins, Red Herrings, and Writing a Great Caper". Story Grid. August 31, 2018. Retrieved April 3, 2021.
  3. Gussow, Mel (April 10, 1996). "Richard Condon, Political Novelist, Dies at 81". The New York Times. ISSN   0362-4331 . Retrieved April 3, 2021.
  4. "Screen: 'Happy Thieves':Appears on Bill With 'Season of Passion'". The New York Times. February 5, 1962. ISSN   0362-4331 . Retrieved April 9, 2021.
  5. The Oldest Confession, Richard Condon, first American hardback, Appleton-Century-Crofts, Inc., New York, 1958. A 1965 British paperback edition (The Oldest Confession, Richard Condon, paperback edition, Four Square, London, 1965), which includes four paragraphs of text on the final page that are not in the American hardback edition, does not quote this epigraph anywhere, thereby making the title meaningless to the reader
  6. "Book Reviews, Sites, Romance, Fantasy, Fiction". Kirkus Reviews. Retrieved April 9, 2021.
  7. Richard Condon, writing in "Endpaper, A Confession of Multiple Homicide", The New York Times, November 30, 1975
  8. And Then We Moved to Rossenarra: or, The Art of Emigrating, by Richard Condon, Dial Press, New York, 1973, second printing, page 147
  9. And Then We Moved to Rossenarra: or, The Art of Emigrating, by Richard Condon, Dial Press, New York, 1973, second printing, page 150
  10. The New York Times, February 9, 1958, On Local Movie Fronts, by A. H. Weiler, a friend of Condon's, whose name is used frequently for minor characters throughout Condon's works
  11. The New York Times, February 5, 1962, Screen: 'Happy Thieves'; Appears on Bill with 'Season of Passion'
  12. The Oldest Confession, Richard Condon, first American hardback, Appleton-Century-Crofts, Inc., New York, 1958, page 4
  13. The Oldest Confession, page 7
  14. The Oldest Confession, page 13
  15. The Oldest Confession, pages 107–108
  16. The Oldest Confession, page 119
  17. The Oldest Confession, pages 35–81
  18. The Oldest Confession, page 227
  19. The Oldest Confession, page 142
  20. The Oldest Confession, page 142
  21. The Manchurian Candidate, Richard Condon, American paperback edition, N.A.L. Signet Books, New York, fifth printing, November, 1962, frontis page
  22. "Urbane Insiders", by Gerald Walker, The New York Times, June 22, 1958, at
  23. Charles Poore, The New York Times, May 1, 1958, at
  24. Time magazine, "Mixed Fiction", March 28, 1960, at
  25. Time magazine, "A Shortage of Cats", July 21, 1961, at
  26. Time magazine, "Cheese", March 4, 1971, at
  27. Time magazine, "Obscurity Now", June 24, 1974, at
  28. Time magazine, "Royal Flush", May 30, 1977, at
  29. Time magazine, "Bookends", September 19, 1988, at