It’s 1746 and Richard Smith has just arrived in New York bearing a bill of credit for one thousand pounds. Presenting this to be cashed at the counting-house of the merchant Lovell on Golden Hill Street, the mysterious Smith causes quite a sensation. Who is he and where has he come from? Where is Lovell supposed to find such a huge amount of money? And what does Smith intend to do with it once he has it?
I would like to tell you more about the plot of Golden Hill, but I’m limited as to how much I can say without spoiling things for future readers. I think it’s enough to say that it’s a hugely entertaining story involving duels, card games, imprisonments and a chase across the rooftops of New York. One of the things which makes this book such an enjoyable and compelling read, however, is the air of mystery surrounding Richard Smith from beginning to (almost) end.
“There’s the lovely power of being a stranger,” Smith went on, as pleasant as before. “I may as well have been born again when I stepped ashore. You’ve a new man before you, new-made. I’ve no history here, and no character: and what I am is all in what I will be. But the bill, sir, is a true one. How may I set your mind at rest?”
His refusal to explain what he is doing in New York and why he needs so much money keeps the other characters – and the reader – guessing until the final pages. Is he really as rich as he seems to be or is he involved in some sort of hoax? Should Lovell trust him or will he be made to look a fool?
Smith’s secretive behaviour arouses both fascination and suspicion among the people he meets. Although he says very little about himself and his past, there is evidence that he has been well educated, travelled extensively in Europe, has a good knowledge of the theatre and an aptitude for dancing, acting and magic tricks – and yet he also makes a number of mistakes and blunders that suggest he may not be as sophisticated as he seems. To complicate things further, Smith soon falls in love with Lovell’s daughter, Tabitha, a character I found just as enigmatic as Smith himself. With her prickly exterior, sharp tongue and often spiteful behaviour, it’s difficult to know how Tabitha really feels about Smith, which is something else to ponder while you read.
Francis Spufford’s writing style is wonderful and perfectly suited to the story and the period; it’s clearly intended to read like an authentic 18th century novel and a lot of care has obviously gone into the choice of words and the way sentences are structured. Sometimes the narrator breaks into the story to speak directly to the reader, passing judgement on the actions of the characters, expressing annoyance (at having to explain the rules of the card game piquet, for example), and making amusing asides and observations. This is the sort of thing I tend to enjoy, although I know not everyone does! The narrative style is not just for show, though – there’s another reason why Spufford has chosen to tell the story in this way, although I didn’t understand until I reached the very end of the book.
Another highlight of the novel is its portrayal of New York at a time when, far from being the major city it is today, it’s a relatively small community still with a significant Dutch influence (seen in the design of the merchants’ houses and the names of the surrounding villages and neighbourhoods – Bouwerij for Bowery and Breuckelen for Brooklyn, for example). It’s a city in its early stages of development, just beginning to expand and prosper, and brought to life through Spufford’s vivid descriptions.
There’s so much to love about this unusual, imaginative novel. I had never heard of Francis Spufford before reading this book, but it seems that although he has written several non-fiction books, Golden Hill is his first novel. Naturally I am hoping that he’ll write more!