From it, characters emerge with all the distinction that a lingering, many-toned, scrupulous novelistic energy can give.
The Manor, by contrast, is a masterpiece of a novel. At the same time, Singer insists on seeing through to the end a melodramatic narrative line for each character. Thus, the texture of The Estate is flattened by the continuance of once brilliantly rendered characters, now predictable dramatic pawns to a chronicle of enlightenment ideas, upheaval and dispersal. ,” but because he has apparently decided to rush in on that intention. That occurs not because, as one might guess, Singer has explicitly undertaken to render an epoch in which, as he says in the Preface, “all the spiritual and intellectual ideas that triumphed in the modern era had their’ roots. Characters once distinctive are blurred and barely distinguishable from one another in the waters of social drama which overwhelm them. The Estate, however, not only fails to tell very much more, but succeeds in reducing the finely-wrought lives established in its masterful forerunner, The Manor.
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