Cloud Atlas.

Klawchat today at 1 pm ET. My list of the most prospect-laden minor league rosters is up for Insiders.

David Mitchell told the Guardian in a 2010 book club post that he was inspired to write Cloud Atlas by one of my all-time favorite novels, Italo Calvino’s metafiction masterpiece If on a winter’s night a traveler, in which Calvino alternates between chapters of author-reader “dialogue” and opening chapters to stories he never completes. Mitchell takes that idea in a different direction in Cloud Atlas, giving us the openings to five novellas, followed by a sixth complete story and then the second halves to the initial five. All of his stories are linked through explicit and implicit relationships among characters and archetypes, even while Mitchell dances across genres from the picaresque to the dystopian to the modern detective thriller.

The six stories move forward through time, beginning with the journal of an American notary on a merchant ship traveling the Pacific in the 1850s, with the fifth and sixth stories taking place after our present day in a dystopian world on the brink of environmental disaster and a postapocalyptic Hawai’i that is one of the last bastions of humanity. Mitchell shifts deftly across the various narrative voices required for the task, nailing the tones of the dissolute composer/amanuensis Robert Frobisher and the third-person narrator of the “first” Luisa Rey mystery with equal precision. The two stories set in the future were the least effective narratives, especially the one set in a world where North Korea has become one of the few remaining powers on a planet increasingly covered by “deadlands;” Mitchell tells this story via an interview between a graduate student and a clone sentenced to death for attempting to incite a revolution, a dry method made harder to accept by his use of one of the world’s least sustainable regimes as the last man standing. Yet the Luisa Rey mystery, a conspiracy-theory thriller where the eponymous reporter stumbles on a massive corporate cover-up of safety risks at a nuclear power plant – with executives willing to kill to keep those violations secret – reads like a James M. Cain noir classic, but with the pacing of a Hammett novel because Mitchell has to wrap up the story in about 100 pages. It’s remarkable that Mitchell can do that voice so effectively while also mimicking Dickens or Smollett (or even John Barth, who himself imitated the picaresque in The Sot-Weed Factor) in the opening passage, and then switching to the pansexual Frobisher’s egotistical, anguished tone in letters to his friend Sixsmith (who appears directly in the Luisa Rey mystery) as if these were the works of different authors entirely. Even Timothy Cavendish, the vanity publisher who inadvertently (and rather comically) ends up with a bestseller on his hands, jumps off the page as a three-dimensional character who struggles to stay out of trouble only to end up in more of it.

That characterization is what elevates Cloud Atlas beyond the mere storycraft evident in the half-dozen novellas that constitute the book. The shorter the story, the harder it becomes for the author to gain the reader’s investment in its outcome by creating compelling characters. Mitchell varies his techniques across each section; we know Luisa Rey is going to come out all right, since it’s titled the “first” Luisa Rey mystery and protagonists in such books always win in the end, but we have no reason to expect any specific outcome for Frobisher or Cavendish, and the clone at the heart of the fifth story is already doomed, just for reasons we don’t understand until her story is over. Only the middle story, the one of the six told without interruption, dragged, but that was more a function of Mitchell’s use of a pidgin English that was intended to show regression in the language and reflect the race’s loss of knowledge through catastrophe and isolation.

My struggle with Cloud Atlas comes from my search for a unifying theme; Mitchell indicates in that Guardian interview that he tried to depict some fundamental aspects of human nature on both the individual and the global levels, but beyond, perhaps, a pessimistic worldview that mankind is so driven by myopic greed that we are bent on self-destruction, I didn’t get that sense of thematic unity across the various stories. The shared or related details across stories, often tucked away like Easter Eggs, were more effective at forging connections across the different settings, although I was looking for a stronger link in the common birthmark that Mitchell used for a character in each story than the explanation he ultimately gave – each character is the literary reincarnation of the same ‘soul.’ Mitchell even hints at spiritual underpinnings with the ends of several stories, including the augury that saves the savage and the humanist in the sixth story – the pivot in the novel – but never fully explores that themes either. The resulting novel is clever and compelling, but only intermittently insightful, a tremendous work of invention yet a bit short of a literary masterpiece.

I also recently finished Silent House, from Nobel Prize winner Orhan Pamuk. The Turkish author takes Tolstoy’s aphorism about every unhappy family being unhappy in its own way to heart, presenting three generations of a Turkish family rent by alcoholism, infidelity, and death into a split structure where a 90-year-old widow employs her late husband’s illegitimate little-person son as a servant, who then ends up also waiting on her three grandchildren when they make their annual visit. The characters themselves, including the widow’s late husband, all come across as two-dimensional representations of various aspects of a broader cultural battle within Turkey, a country that is split in both geographical and metaphorical senses between west and east, humanism and religion, history and modernity. The narrative technique, with five different characters alternating their turn at the microphone, adds perspective, but the story itself seemed stale and predictable. I assume this wasn’t the best choice for someone looking for a single example of Pamuk’s work.

Next up: Chimamanda Ngozi Adichie’s Americanah, which was shortlisted for the Bailey’s Women’s Prize for Fiction, a prize Adichie won in 2007 for Half of a Yellow Sun, her amazing saga of five people trying to survive the Nigerian-Biafran civil war.

Comments

  1. Mitchell is one of my favorite writers, and I find with his books that I almost don’t care if the whole is better than the sum of the parts. His prose is enough to keep me engaged and reading, and his mastery of different literary styles is unparalleled. I’m looking forward to reading “The Bone Clocks”.

  2. I felt pretty much the same way about Cloud Atlas. A few follow up questions:

    1 – do you think it will crack your next Top 100?

    2 – do you plan on watching the movie? I enjoyed it for the most part, but was disappointed the directors attempted to tell all 6 stories at the same time instead of in the same sequence they are told in the book.

    I’m finishing up The Bone Clocks right now and would recommend it as well.

    • It won’t crack my top 100, and too many people have told me to skip the movie so I won’t bother. I don’t watch many movies to begin with.

  3. Potentially small but I think meaningful quibble. You talk about the clone story taking place in North Korea, but I very definitely read it as South Korea – They are in a city named after Seoul (New New Seoul or something, if I recall) and the entire nation is capitalism to the point of being run by corporations (back to the theme of greed leading to our own destruction. You question whether Mitchell’s use of an unsustainable North Korean regime makes sense, but I actually think he is quite openly taking us into a world that is POST-North Korea, where the capitalist South Korea has won to such an extreme level, that corporations drive all.

    Did I just completely mis-read this? Are we just interpreting it differently? Is there a piece of evidence (or a Mitchell interview/statement) that I missed?

    • Mitchell refers to Juche, part of the North Korean government’s cultlike philosophy, and refers to the current and former leaders of the state in terms similar to the way Pyongyang refers to their fearless leader.

  4. I liked “Cloud Atlas” a lot but also thought the birthmark thing would end up being significant. Expecting more out of that tainted the book a bit for me on first reading but I still enjoyed my second reading a lot.

    “The Thousand Autumns of Jacob de Zoet” is Mitchell’s masterpiece in my opinion.

    • Thousand Autumns is a bit dry for my taste — the meticulous detail is amazing, but it doesn’t have the heart or ideas of some of the others. Black Swan Green is my favorite of his, the smallest of his books in scope but one of the best portraits of childhood I’ve ever read.

  5. Pamuk’s novel “Snow” is excellent if you decide to give him another shot. Also agree that Mitchell’s “The Bone Clocks” was great. I think it is better than “Clout Atlas”.