Forsyte Saga

A compelling drama and merciless scrutiny of a newly-monied upper middle class family at the turn of the twentieth century, The Forsyte Saga has a sumptuous range of characters; Soames, he of the 'perpetual sniff'; Old Jolyon, 'typifying the essential individualism born in the Briton'; the sensuous Bosinney with 'an air as if he did not quite know on which side his bread was buttered'; Young Jolyon, the free thinker; and, of course, the sexually alluring and impenetrable Irene, catalyst for much dissension within the clan. The author makes his presence and opinion felt with beautifully subtle pinpricks of wit which leave one in no doubt what he thought of the accumulation of wealth and poverty, which typified the materialistic Victorian psyche, at the expense of sensitivity and freedom. Galsworthy demonstrates a fundamental understanding of hidden sexual currents and their ability to change our destinies. If you have enjoyed the 'The Forsyte Saga' on television in the past you will be familiar with the engrossing story: if not, prepare to be completely captivated and engaged by one of the best tales ever told. ©2001 John Galsworthy (P)2010 Assembled Stories

In this, the second volume of the Saga to be released in an unabridged recording by Assembled Stories, Soames' house continues to be built as his marriage disintegrates. Is Irene having an affair? Certainly her relationship with the architect Bosinney is causing ructions in the family. While attempting reconciliation with his son, Old Jolyon, spurred by June's suffering as she feels herself losing her lover, sends Young Jolyon to sound the man's intentions. In this meeting Young Jolyon reveals the essence of the Forsytes and warns Bosinney about the nature of the class he is defying: 'A Forsyte is a man who is decidedly more than less a slave of property. He knows a good thing, he knows a safe thing, and his grip on property - it doesn't matter whether it be wives, houses, money, or reputation – is his hallmark... they are the middle men, the commercials, the pillars of society, the cornerstones of convention; everything that is admirable.' Will the young man heed the warning or continue to cause more anguish within the family - and, much worse - scandal amongst its peers? Public Domain (P)2010 Assembled Stories

The house at Richmond is finished at last, but Soames takes Bosinney to court for exceeding the budget. The final judgment of their case turns on 'a very fine point' in their correspondence. The architect does not heed Young Jolyon's warning and continues to pursue Irene - with fatal consequences. Old Jolyon effects a complete reconciliation with his son and changes his will as a result, further distancing himself from his brother James in the process. The rift will continue through into the next generation. The old man purchases Robin Hill and spends the remaining days of his life in the company of Irene, now teaching music and 'assisting the Magdelenes of London'. This charming interlude brings Galsworthy's Book 1 of the Saga to a close. Public Domain (P)2010 Assembled Stories

It is 1899. Old Jolyon has long since been buried at Robin Hill, and with the death of Aunt Susan in 1895 and Roger's funeral opening this instalment of the Saga, the Forsyte's are fast becoming aware of their mortality.Yet more problems beset the family. Montague Dartie leaves his wife for Buenos Aires to pursue his latest flame, a dancer. Young Jolyon's wife has died and his father entrusted him as executor of his will, ensuring that Irene receives the interest on the sum the old man left her.Motor cars are beginning to fill the streets of London and war with the Boers is about to be declared. Soames is now 44 years old, separated from Irene for 12 years and yearning for a son to whom he can leave his property. He meets and begins to woo Annette. Could she give him an heir ? At first he favours the idea and prepares to seek a divorce, but meeting Irene again rekindles that desperate, unfulfilled passion. Why should she not come back to him? He informs Jolyon of his intentions, asking the artist to 'kindly leave her quite alone'; 'I can give you no such promise' comes the firm reply, and the battle begins in earnest.