Literary fiction about science remains an exception. When C.P. Snow voiced concern in 1959 about “Two Cultures” in reference to the growing gap between science and the arts, it created a stir. Nowadays, no one would debate the notion. It has hardened into fact.
Often, when literary fiction tries to engage with science, it tends toward speculative writing. For instance, Kazuo Ishiguro’s Never Let Me Go or Ian McEwan’s Solar or any of a number of Richard Powers’ novels. They show a hypothetical present or future and ask: “What if?” Continue reading
I read Douglas Glover’s novel Elle (Goose Lane Editions, 226 pages) when it came out in 2003, and over the years I’ve continued, now and again, to read a few pages at random. It’s an excellent book – it won Canada’s prestigious Governor General’s Award – with a remarkable narrator heroine and a curious plot, but I go back to it simply because I enjoy the story teller’s voice. The novel is based on an actual event in Canada’s history when a French noblewoman was abandoned on the Isle of Demons in the Gulf of St. Lawrence in 1542.
The history is simple. In 1541 Jean-François de La Rocque de Roberval, a nobleman privateer, was made Lieutenant General of New France. He set sail from the old to the New France that same year and along with him and the other colonists in his charge he had his cousin, or maybe it was his niece or his sister – the record is confused – but in any case she was Marguerite de La Rocque de Roberval. For some unknown reason Lieutenant General Roberval became infuriated with Marguerite and as the ship entered the Gulf of St. Lawrence he had Marguerite, plus her lover and her maidservant, put ashore on a small unpopulated island, providing them with scant hunting and fishing gear. A few years later Marguerite was rescued by Basque fishermen and by then her lover and an infant whom Marguerite had given birth to had died, as had the maidservant. Continue reading
Presented as a memoir of Captain John Smith, founder of Jamestown Colony, Virginia in 1607, The Weight of Smoke (McPherson & Co, 389 pages) is the work of a self-described antiquarian, rare books dealer whose imagination is stacked to the ceiling with historic archives and Elizabethan letters. With this volume of historical fiction, Minkoff truly does seem to inhabit the language of those times.
Smith’s narration has a reflexivity to it that radically alters the reader’s sense of time. Every line is both fraught with Smith’s rich backstory and, at the same time, is nervously peering into his bleak future. Such tricks with time are only possible in literary narrative. And it’s a reading experience that is mind-expanding. If his narration had a shape it would torus-like, perhaps, or arabesque, but definitely not linear. Continue reading
Victor Fet, a colleague with whom I have shared adventures in art and science, offers Alice and the Time Machine (Evertype, 134 pages, illustrated by Byron W. Sewell) on the 150 anniversary of the publication of Alice’s Adventures in Wonderland and the birth of H.G. Wells. The novella brings together Alice Liddell, Charles Dodgson (aka Lewis Carroll), John Dalton (of atomic theory fame), Charles Darwin, Francis Galton (Darwin’s half-cousin) and Wells, who arrives in Darwin’s time of 1862 from 1892 via a time machine. Together they determine that Alice’s mad tale is actually a message from the future, warning them of coming chaos, bloody wars, catastrophic pollution and tyranny. They form the Time Corps and use the time machine to contact scientists past and future to enlist their aid to try to change the world for the better. As they do their work, they notice changes in their own time. At the beginning of the tale, Wells is a nobody but becomes a famous science-fiction author while the other Wells fades in his memory as if a dream. Continue reading
In The Age of Insight, Eric Kandel writes about the role of the observer in art: “Not only does the viewer collaborate with the artist in transforming a two dimensional likeness on canvas into a three-dimensional depiction of the visual world, the viewer interprets what he or she sees on the canvas in personal terms, thereby adding meaning to the picture. Riegel called this phenomenon the “beholder’s involvement.” Kris’s study of ambiguity in visual perception led him to elaborate on Riegel’s insight that the viewer completes a work of art. As a neuroscientist, Kandel focuses on the plastic arts, but his discussion brings us to the question of writing and specifically to the question of the “historical novel”. What does historical writing demand from the reader in order to “complete a work of art”?
There are three dimensions involved: Time, the writer’s mind, and the reader’s perception.
We know that writers filter reality, compress time, squeeze events, introduce ‘fictional’ aspects to such an extent that often the historical novel masquerades as a “quasi-memoir” splicing together documentation from time past with the writer’s art and craft of invention.
In other words, how much of an historical novel is history and how much is literary fiction? And, really, does it matter? And what has Eleanor Sapia Parker done in A Decent Woman (Scarlet River Press, 364 pages)? Continue reading
Edoardo Nesi’s new novel, Infinite Summer, translated from the Italian by Alice Kilgarriff (Other Press, 320 pages), takes place in Tuscany between August 1972 and August 1982, right in the middle of the period known in Italy as the “Years of Lead,” a period of social and political turmoil marked by left-wing and right-wing killings and bombings. Knowing a bit of this history gives the novel a feeling of unfolding in an alternate Italy, an Italy of booming growth, expanding global markets for Italian goods, and limitless possibilities.
Nesi is a translator, writer, filmmaker, and politician. He has translated Bruce Chatwin, Malcolm Lowry, Stephen King, and David Foster Wallace, among others. He’s written a dozen books, one of which, Fughe da Fermo, was made into a film that he directed. In 2013 he was elected to the Italian Parliament’s Chamber of Deputies. Continue reading
The Second Mrs. Hockaday, (Algonquin Books, 272 pages) is an epistolary novel that moves seamlessly between letters to court documents to diary entries. There are chapters that end in the middle of a scene, a diary entry interrupted, leaving the reader to hold his/her breath. The scene continues at the beginning of the next chapter. It is an amazingly effective technique, one that makes us want to race through the pages. The ending of the book? Continue reading
Readers unfamiliar with Robert Olmstead’s lyrical style will be delighted to discover this prolific and productive midwesterner’s work. In Far Bright Star (Thorndike Press, 279 pages ) the newest tale of the West, Olmstead weaves a minimalistic account of one man’s confrontation with his mortality and the deeper reaches of the human psyche.
Napoleon Childs is a noncommissioned officer in the U. S. Expeditionary Force sent into Mexico to get the sometimes bandit, sometimes revolutionary Pancho Villa. Detailed to scout for signs of the elusive Villistas, Napoleon leads a squad of green recruits and seasoned soldiers into the trackless Sonoran desert, where they are ambushed by a strange and savage band of independent outlaws. Led by a mysterious woman, the renegades are principally interested in Palmer, a trooper who has maimed a prostitute in the village where the army is bivouacked.
Napoleon, captured and tortured, is the lone survivor of the attack, left to make his way back to tell his story. Continue reading
“All were in sorrow, or had been, or soon would be.” (Roger Bevins III, p. 304)
Okay, so what happens when we die? Writers of fiction have been peering across into that unfathomable abyss from time out of mind. You might even say that this is what great fiction writers do: they look at the grand questions, and especially at immortality, or the lack thereof.
George Saunders’ rather ironic take on the afterlife (Lincoln in the Bardo, Random House, 343 pages) goes roughly like this: after death some of us get caught up in the fulgurant thing called “the bone-chilling firesound” of the “matterlightblooming phenomenon.” Amidst lots of explosions and smashing to smithereens—imagine something like the shoot-em-up-blow-em-up special effects of Hollywood—this phenomenon transports us off to . . . well, the author never tells us exactly where. Is it a nice place? That’s a good question. At times there are suggestions that it might be fine, but only for the better-behaved of human beings in their fleshy existence, and not even for all of them. Continue reading
In these Instagram days it seems any book can find itself tagged a #ForgottenClassic a little more than an hour after its published, and so the best books have to await the time when we find them, just beyond the nearest rise, waiting for us when we get to them. Kass Fleisher’s Dead Woman Hollow (SUNY Excelsior Editions, 194 pages) is one of the latter, a book for the ages, published just short of four years ago as I write, a historical novel in three parts and with two intermezzos, titled “Before” and “After” respectively and perhaps unsurprising. But that’s all that’s unsurprising about this tightly woven, triple-stranded, tragic yet transcendent, even triumphant, ages-of-women chronicle set in the mountains of twentieth century Appalachian Pennsylvania.