Plot and humour that rival the 'master'

JEEVES AND THE WEDDING BELLS<br><b>Sebastian Faulks</b><br><i>Hutchinson</i>
JEEVES AND THE WEDDING BELLS<br><b>Sebastian Faulks</b><br><i>Hutchinson</i>
In this book, Faulks aims to introduce a new generation to the joys of reading Wodehouse by a kind of back-door method; that is, as an established modern author, he's thoroughly immersed himself in the Wodehouse style and produced a new ''Wodehouse'' title.

I hope it will work, because Faulks has done an admirable job of writing as Wodehouse wrote. It's an astonishing feat, in fact.

At first he seems to be feeling his way (or perhaps I was just cautious as to whether he could pull the thing off), but once he gets moving he presents us with a marvellous story in typical Wodehouse style.

It rips along at a great pace, with a plot that's as intricate as anything Wodehouse himself ever wrote (in fact, it's an improvement on some of his later plots). The language is more than equal in wit and humour to that of the ''master''. He even describes a game of cricket in such warm terms that a non-cricket player might well think the game worth reconsidering.

The story is told by Bertie Wooster in his usual convoluted approach to the English language. Jeeves' responses are invariably superior in wisdom, in their use of words (accipitrine and anfractuosity appear early in the piece), and in their ability to see the bigger picture.

The plot requires Bertie and Jeeves to change places - and occupations - while visiting Melbury Hall, the immense home of Lord Hackwood and his niece, Miss Meadowes (she's already charmed the socks off Bertie on the Cote d'Azur). In order to save the family pile, Miss Meadowes has now become engaged to a self-centred and fatuous bore, and of course it's up to Bertie - or rather, Jeeves - to save the day. Which they do, though somewhat deviously.

Added into the mix are the usual collection of terrifying aunts (or their substitutes), gorgeous girls, love-crazed fiances, drunken servants and a much truncated performance of A Midsummer Night's Dream with a cast not exactly to die for.

The Wooster world remains as innocent as ever: love was ever present in the Wodehouse stories, but sex never quite made it in the door. Faulks retains the tone of the 1920s, but subtly adds in the occasional modern comment for the watchful reader. If you're a Wodehouse fan you'll love it; if you're not, give it a try, it might convert you.

- Mike Crowl is a Dunedin writer, musician and composer.

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