“The Vegetable Man” by Luigi Ugolini is a simple enough story of a man whose skin has turned completely green.
He explains how he became infected with this unique illness. Seduced by the mysteries of science’s unexplored frontier, Olivares goes on an expedition to the Brazilian interior in search of new forms of plant life. There he discovers a plant that “seemed to have been created deliberately to upset all of my botanical science,” a plant that cannot wholly be categorized as vegetable, but which has the appearance of “human limbs without skin” (98). Pricked by a thorn, he soon experiences the first subtle symptoms of what becomes a wasting disease that turns his skin green and leads to other mutations besides.
Soon, Doctor Benito Olivares literally becomes a green man: half-vegetable, half-man.
Appearing in the Italian journal The Illustrated Journal of Travel and Adventure Over Land and Sea in 1917, “The Vegetable Man” reads like a traveler’s tale from a distant corner of the earth. Like Indiana Jones, Doctor Olivares is an adventure scientist like you might find in a pulp story who is dedicated to “[penetrating] the virgin forests” and pushing the frontier of knowledge (97). However, with that sense of guarded mystery comes a sense of intruding into what nature never intended humanity to see. Twice, the Guaraní Indians try to warn him about the samples he took of the Inhuacoltzi, the great spirit of the plants.
Perhaps most uncanny are the leaves of this plant. Resembling a prickly pear, they have “two oval scuttulem” on them, resembling “two very human eyes that seemed to stare out at me in an unpleasant and sinister way” (98). When the green man pulls off his gloves, his hands are revealed to have been turned into these same, shapeless leaves, with uncannily human eyes.
Doctor Olivares claims to have been born in Santos, Brazil, and he donates his samples of the Olivara vigilans to the Museum of Natural History in Buenos Aires. This puts Ugolini’s story in the vicinity of another great weird fiction writer, Jorge Luís Borges. Buenos Aires is Borges’s storied home city; in his famous story, “The Aleph,” Santos happens to be the Brazilian town where Pedro Henriquez Ureña supposedly found Sir Richard Francis Burton’s manuscript on the Aleph.
Details like these have me imagining a weird fiction “shared universe.” What would Borges (who suffered from blindness) have thought of Olivara vigilans, a plant he would have been unable to see with his own eyes, even though the plant itself could “see” him?
I was astonished to find tangential links to Jeff VanderMeer and H.P. Lovecraft in Ugolini as well. For one, Olivara vigilans is described in a similar way to how Lovecraft describes the shoggoth fossils in At the Mountains of Madness. Both straddle the uncanny line between the vegetable and the animal. For instance, Lovecraft describes the shoggoth as a “barrel-shaped fossil of wholly unknown nature,” defying categorization, such that Lake cannot decide whether they are “vegetable or animal.”
In comparison, Ugolini’s scientist describes Olivara vigilans as “a living contradiction” in terms of classification, a plant that is “in itself an order, family, species, variety … with palmate leaves that were thick and fleshy” (98). The discovery upends the categories scientists use to classify and order the physical world, throwing such artificial boundaries into doubt and uncertainty.
Furthermore, the liana, “the octopus of the forest” (98) which strangles trees in the grove where Olivares finds the Olivara vigilans, is almost an echo of the strangling vines that move around in the fungal lettering left behind by the Crawler in Jeff VanderMeer’s Annihilation. Even more of a strong echo are the all-too human eyes growing out of the plant’s leaves, which call to mind the all-too human eyes of the dolphin the Biologist glimpses in Area X. The implication in Annihilation is that those who visit Area X somehow get transformed into animals, yet retain uncanny traces of their humanity. In a similar way, this is Olivares’s fate; he becomes “reclaimed” by the natural world after being infected with the Olivara vigilans‘s poison.
As I continue to notice parallels between VanderMeer’s work and the stories he and his wife, Ann VanderMeer, included in this anthology, I am strongly reminded again of what Borges wrote in “Kafka and His Precursors”: every author creates their own precursor. The weird fiction authors included in this anthology may have seen each other as influences, or they may not have done so. But VanderMeer acts as both author and critic, creating the predecessors of the New Weird as a literary movement through his role as editor of this anthology, even as he drops teasing hints as to who his own, personal precursors may have been. Even if “The Vegetable Man” did not inspire Annihilation directly, they are both holding a conversation with the same literary zeitgeist.
Next week, I’ll be getting into pulp adventure with Abraham Merritt’s “The People of the Pit.” I have discussed one of Indiana Jones’s predecessors, Merritt’s The Moon Pool, elsewhere on this blog, so I’ll be in familiar territory when I write about it next week.
If you arrived at a crossroads, would you take the right or the left fork? We are faced every day of our lives with choosing a path. Once our decision takes us onward, we cannot return. The past that once was–and the path we might have chosen instead–grows more and more distant with each ‘Y’ junction we pass.
The courses of history and personal lives divide at such moments. The Germans invaded Poland in 1939 on Y-Tag, or Y-Day, the same day that New York City’s World’s Fair expressed a utopian optimism. Barbarism or civilization: which path did history take at that moment, and where did it go after?
Endless Things by John Crowley is the final book in his Aegypt Cycle. It is the culmination of thirty years of thinking, research, and writing on the part of the author, and an ending to a series that is thematically preoccupied with endings. Endless Things is a completion without an ending per se. After all, the thousands of possible futures that might come into existence at any moment are as endless and infinite as the universe itself.
Pierce Moffet has left the Blackbury Jambs for Old Europe on what sounds like an epic quest–to find the Holy Grail, or the Philosopher’s Stone, in either case an artefact that can prove once and for all that the world has more than one history, that its laws are mutable. Alchemy, once briefly possible for John Dee and Edward Kelley, is in our modern world no long possible–at least, Fellowes Kraft’s last unpublished novel claims so, which Pierce is supposed to copy and rework into a book. He follows Kraft’s old notebook through cities such as Rome, Florence, and Prague, which was once the centre of European civilization and scientific experimentation, circa 1588.
The setting of Prague, Pierce’s destination, is a central setting of the Aegypt Cycle, given its historical relevance. Once long ago, two diplomatic officials were thrown out of a window in that city, an event that led to the Thirty Years’ War, which tore apart Europe and the metaphysical certainties that bound it. Catholic fought Protestant for control of the Holy Roman Empire. Like Y-Tag, this is another juncture in history, and it forever changes the face of religion, diminishing its epistemological importance while the scientific method becomes, gradually, the new paradigm for truth.
All this is preceded by an ideal royal wedding that for all its purity, becomes the reason for strife. Traveling players perform Shakespeare’s The Tempest to celebrate the union. At the play’s end the sorcerer Prospero vows to drown his books and end his magical career, just as magic has come to an end in the wider world.
Prague, now part of the Czech Republic, is behind the Iron Curtain when Pierce goes on his quest. The author’s bio at the back of the book shows John Crowley’s own passport that he used on a research trip to Prague earlier in his life (photo undated), suggesting a certain level of identification between the author and Pierce. Combined with the author’s metafictional reflections through the character of Kraft himself, this autobiographical suggestion makes Endless Things into a novel about writing novels–and about narratives, especially endings.
The story of Giordano Bruno’s martyrdom is one example of a tale that doesn’t end when history suggests it did. The heretic philosopher, who was the first to suggest that the universe was infinite and the earth not at its centre, was burned at the stake in Rome’s Campo dei Fiori for his crimes of belief–but at the last moment, his soul transferred, by metempsychosis, into the body of an Ass, a sacred donkey. This Ass, living as the metamorphosed Lucius does in Apuleius’ The Golden Ass, that is, as a human in a donkey’s body, in turn transforms into the mysterious originator of the Rosicrucians, Philip à Gabala, who claimed to possess the deepest secrets of the universe’s meaning, but who never revealed them.
There are many surprises in Endless Things, the story of which substantially departs, in its first half, from the familiar settings and characters that direct the first three books. My biggest shock was that in one scene, Pierce appears to hold conversation with Dame Frances Yates, whose study, Giordano Bruno and the Hermetic Tradition, is one of the central research texts that Crowley consulted when writing Aegypt. Crowley’s identification with Pierce, which is implicit throughout the cycle, was made here nearly explicit, though never untactful. If there was any doubt the Aegypt Cycles’s earlier books are postmodern metafictions, Endless Things puts those doubts to rest.
The final chapters of Endless Things move towards an ending with graceful meditation–and it is an ending in a changed world, yet a world that we can all recognize. We see the advent of computers and the fall of the Berlin Wall, so the it leaves off some time in the 1990s–connecting events that happened as far back as the sixteenth century to the years of my own childhood. Prague once again becomes the locus of a revolution–the Velvet Revolution–that quietly forges a new world. With the fall of Communism comes the beginning of an increasingly globalized and history-less Western society. And in the midst of this, Pierce, with his rocky romance with Rosie in his past, has, upon his return from Europe, one last chance to find true love.
Endless Things ends my first reading of Crowley’s Aegypt Cycle, but it will not likely end my involvement with it. I plan to include some kind of discussion of Crowley’s work in my MA thesis, if I can, and I could think of no worthier object of study.
Brian Attebery in his 1996 essay “Tolkien, Crowley, and Postmodernism” argues that Crowley’s previous novel Little, Big makes the “fantasy tradition descending from George MacDonald, William Morris, J. R. R. Tolkien, and C.S. Lewis … formally indistinguishable from postmodernist uses of the fantastic” (21). I would gladly extend Attebery’s observation to the entire Aegypt Cycle, although I note that Little, Big has much more to do with the tradition of Tolkien and MacDonald than Aegypt does. Gnostic allegory and Renaissance philosophy are closer to the real tradition behind Endless Things.
Bringing New Left theorist Fredric Jameson into the conversation, I would like to quote the introduction to his study Postmodernism: or, The Cultural Logic of Late Capitalism, in which he says that the postmodern “looks for breaks, for events rather than new worlds, for the telltale instance after which it is no longer the same” (ix). If fantasy is a genre in which new worlds are built, then the Aegypt Cycle looks, rather, for events, these breaks that alter history.
These are the Y-junctures that result in changes we cannot go back on, the decisive moments in a society that alter even our ontological perceptions. The change from medieval animism and superstition into Enlightened science comes as a result of just such a break. Crowley accomplishes a dramatization of exactly how the former metamorphoses into the latter, how the world became what it is today and why it is no longer what it once was, explicitly addressing that age-old question, “Why is the world the way it is and not some other way?”
Milan during the time of Bishop Ambrose and Emperor Theodosius in 394 AD was the new centre of the Roman Empire, a cosmopolitan city home to Christian and pagan alike–the perfect setting for demon hunt.
A young girl and an elderly priest are found dead in their beds under similar circumstances, after a night of restless nightmares. Meanwhile, pagans are brought outside the city walls to be burned at the stake, since the new laws proclaimed by Theodosius make worship of the old gods a crime punishable by death. Milan is undergoing a violent transition from the classical world into the Christian Middle Ages. Embodying that transition in many ways is the hero of this novel by Italian author Giovanni Anastasi.
Aurelius Severian is an ex-Roman soldier turned priest who has now given up both professions to hunt the invisible, incorporeal agents of the devil. His calm, silent demeanor and larger-than-life capability make him a force to contend with. Like his namesake Marcus Aurelius, he is a stoic, perhaps as way to cope with his tortured past. We perceive Severian mostly through the lens of his servant Flavian, a pagan slave boy he saves from the stake. As Christian and pagan, they distrust each other at first, but circumstances force them to adopt a necessary partnership.
Severian and Flavian must race against time to examine the corpse of the slain girl and find out who killed her and why. Meanwhile, a mysterious sorcerer works black magic while watching their every move, calling on the name of the Lady of the Night Gates, the demon whose statue Severian discovers under the girl’s bed.
I was pleasantly surprised by Demon Hunter Severian. It’s a horror mystery/historical fantasy romp through late classical Milan. There were a few typos and some similes and descriptions that didn’t quite work for me, however. The novel at times follows a standard formula for historical action thrillers–I won’t point out what that formula is exactly, but some scenes follow the script gesture by gesture. Which isn’t to say the story didn’t work. It was a fun ride and left me satisfied at the end.
Demon Hunter Severian has the potential of developing into a series revolving around its central character, and if it does, it would be interesting to see whether the secondary characters introduced in this first novel develop any further. The novel’s setting is unconventional, capturing a curious moment in Italian history where pagan and Christian could still live side by side, even though the pagans were starting to be hunted down for their religious differences. It’s a situation of religious intolerance mixed with politics that speaks a lot to the world of today, especially in the Middle East. What I liked about Anastasi’s treatment of good and evil is that neither side is given moral superiority–there are Christians who act good and bad just as there are pagans who act good and bad. These shades of grey enable the novel to pay respect to the hybridity of Milanese culture at the time.
I think Acheron’s mission to publish Italian fantasy and speculative fiction for the English-speaking public is a fine one. Italy has so much history, so many ancient ruins, and so many old, forgotten cities buried underneath the modern ones that the fantastic literature emerging from such its landscape is guaranteed to be rich.
Adriano Barone, the head editor, told me by email, “With Acheron we want to fill a gap we think exists in the fantasy world, that is, Italian settings and Italian folklore. Italy is renowned for its history and art … we think this fascination can extend to speculative fiction too.”
At the Northeast MLA Conference last weekend in Toronto, which I attended, there was a panel in Italian on fantastic literature. This leaves me with the impression that Italian fantastic literature is making inroads at a time when it stands to build bridges between cultures and languages.
Acheron Books is an online ebook publisher of Italian fantasy and speculative fiction authors in English–“Your ferry to the Other Worlds” is their slogan. Giovanni Anastasi is the pen name of Luca Tarenzi, author of two previous novels When the Devil Strokes You and Godbreaker. He won the Premio Italia Fantasy and SF Literature Prize in 2012. The text has been translated from the original Italian by Nigel J. Ross.
Today I will share a set of images I drew and painted of a Venetian dragon. This is part of my series on Renaissance dragons in urban settings. I will, as in my post on Florentine Dragon, take you through the process of painting it. I’m still practicing my skill, but that’s how you improve.
Here is the final painting.
I did this one in a single sitting. I worked very carefully on the bridge, then tried to match the tone in the surrounding stone. I feel as if my colours were off and fairly flat unfortunately. However, my father, who paints with oils, said this one was a step up from the sketches I had drawn before. Nonetheless, I feel my work on this particular dragon is done for now. Later, I might paint a Roman dragon, or perhaps a dragon from San Gimignano, Milan, Genoa, or Naples. After I have my trilogy, my plan is to choose the best dragon, perfect my technique, and paint a massive watercolour of a large scale sheet of watercolour paper I received from my cousin as a gift.
A design like the one above did not happen overnight. Here is what my initial sketch in my notebook looked like. I drew it practically a year ago now.
That dome is supposed to be from Basilica San Marco, but there is no canal like this nearby. This sketch is purely fantastical, so to make my actual watercolour I visited Venice via Google Earth and found a bridge over a canal that would work for me. The Basilica was not visible over the rooftops, but I had a clear enough view of the bridge. Although my initial sketch of the dragon was generally okay, I perfected the elegance of its snake-like body in the final watercolour.
After sketch, I scanned the actual sketch I used for the watercolour and printed several copies to try different colour schemes. The first was conservative. For the second I tried to make a dramatic dawn shot, but the pencil crayons I used all blended together into a bit of a mess. I need practice with colour, but the only way to rise above that is through practice.
I used the conservative colour scheme, taking a special note to work with the lighting. I envisioned beams of sunlight illuminating the dragon’s face and the man’s face, showing their bond. Although I colour-coordinated the man’s cloak and the dragon’s colour, I forgot about this dynamic in the final watercolour. Nonetheless, I don’t think the colour came out bad in that regard. The strongest part of this painting was the composition, something I had in Florentine Dragon, although I would have preferred to keep the dragon well below the top of the canvas in that one. I’m proud of Venetian Dragon because the gaze travels in a loop around the bridge, giving you the idea of two different worlds uniting: man and dragon.
For what purpose do they unite? Perhaps because the man is a patrician with investments in the Venetian navy and they must recruit a beast to fight the Turk and reclaim the island of Cyprus, which the republic lost in the sixteenth century. Or maybe the dragon is this nobleman’s pet and water dragons are as common in the canals of this alternate Venice as gondolas. What do you think?
To finish off, I had some fun with a filter on Photoshop. I found this rough, high contrast image gave a strange, intense emotion to the composition. It is a variation on the halftone filter I used with Florentine Dragon.
This question, and the ideas that stem from it, form the backbone of what might be called the definitive historical fantasy novel.
Pierce Moffet wants to find a compelling book idea for a nonfiction history book. He discovers that the reason we think gypsies can tell fortunes is not because they came from Egypt (or even India for that matter), but because our ancestors thought gypsies came from Aegypt, a dream-Egypt sprung from the European imagination. In the Renaissance, before hieroglyphs were interpreted, Egypt was Aegypt to the Greeks, and the inscriptions on the temples of that far-off country were suspected of hiding all manner of ancient magical incantations and occult lore given by the Father of Magic, Hermes Trismegistus.
In one sense, Aegypt: The Solitudes is literary fiction, with the bulk of the action happening among the fictitious Faraway Hills region of rural Kentucky in the 1970s. Yet, it is also a historical novel with elements of fantasy. A couple of scenes happen in Renaissance Italy, Elizabethan England, and it even has a Goethian “Prologue in Heaven.” Except for one scene, in which a minor character named Beau imagines (with the help of drugs?) that he soars through the heavenly spheres, each of these “historical” scenes are chapters written by the fictitious historical novelist Fellowes Kraft, John Crowley’s alter ego. The result is an alchemy that gives “real” modern, American life a glowing significance in light of the “fictitious” historical past.
Winning the Life Achievement Award at the World Fantasy Convention in 2006, Crowley has made quite the contribution to American letters. His style feels casual and genuine, a smooth voice that puts you at ease in the pastoral setting of the Faraways.
After a fateful bus trip away from an anonymous life in the city, Pierce finds himself in the rural region, near the town of Blackbury Jams. We learn he is the sort of man who spends an inordinate amount of time coming up with thorough, even scientific answers to fanciful questions, such as what he would do if a djini granted him three wishes. But one question in particular begins to tantalize him: why do we think gypsies can tell fortunes? Little does he suspect that his scientific historicism and fascination with fairy tales will come together to form an intellectual synthesis.
Meanwhile, Rosie Rasmussen is trying to finalize her divorce with her husband Mike Mucho, and look over her three-year-old daughter Sam. She has trouble understanding her own lack of a desire to love Mike any more, wondering what she will do with her life as she consults with her divorce lawyer. Her escape during these emotionally troubling times is to read Bitten Apples by Kraft, a novel about a young William Shakespeare written in a realistic style. Crowley makes us read scenes from Kraft “over her shoulder,” writing certain scenes from BittenApples as scenes in The Solitudes. The historical-fictitious world of Kraft’s novels thus run parallel to the main, twentieth-century narrative. The result is that we inevitably compare the main plot to Kraft’s plots, noticing parallels between the past and present.
The disaffected, modern characters who search for meaning in rural Kentucky contrasts with the Renaissance setting of Kraft’s novels, subtly suggesting that the characters repeat mythic patterns in their day-to-day thoughts and actions. The way Crowley weaves these parallels seems almost accidental, but given Crowley’s sophistication as a writer, it is clear he intends readers to pick up on these “accidents.” Whether they have deeper significance is up to the reader to decide.
Since the novel is about Rosie and Pierce’s relationship to Fellowes Kraft, an author who they’ve never met, and his oeuvre, it becomes significant for past and present when, in Bitten Apples, a young William Shakespeare enters the house of Doctor John Dee on an errand. (To read more on what I wrote on Dee, click here and here.)
During his visit to the old Doctor, Will gets a primitive photograph taken of himself from the camera obscura in Dee’s garden. He is then invited inside his home where he comes face-to-face with Dee’s famous “crystal ball,” a smoky quartz stone the colour of moleskin. Dee uses it to scry for spirits. Will says he sees something in the smoke, a portent warning of fateful visit from a stranger—but whether he really saw anything, or only wanted Dee to think he saw something, remains ambiguous.
An innocent enough reply, Will’s “prediction” comes true when Dee makes the acquaintance of Talbot, or Edward Kelley, a con man who claims to be able to communicate with angels. While he deceives Doctor Dee on his desperate quest for spiritual meaning, Pierce and Rosie, in the twentieth century, ponder their own searches for significance and love.
But what changes the game for Dee—and Pierce—is the (re)appearance of Giordano Bruno. Bruno was a heretic Dominican monk in Renaissance Italy who develops a theory about an infinite universe while challenging the Ptolemaic world system. The heretic’s story is one that Pierce was familiar with since childhood. But never has Kraft delved into Bruno’s life in quite the way he does in the unfinished, untitled manuscript Pierce finds in the abandoned house of the late author of Bitten Apples
Pierce discovers that his whole life has been preparing him to read this one manuscript, a book that uncannily echoes his own intellectual journey to write a nonfiction book on the history of histories. The manuscript opens as follows:
“Once the world was not as it has since become.
It once worked in a different way than it does now; it had a different history and a different future. Its very flesh and bones, the physical laws that governed it, were other than the ones we know.”
As Pierce reacts to this stimulating subject material, Dee sees Bruno sailing for England in an attempt to flee religious persecution. Aegypt: The Solitudes leaves us off with the sense that the meeting between Dee and Bruno will be an epic meeting that could change the fabric of history itself. The first book of the Aegypt Cycle ends, as does Bitten Apples, with “THE BEGINNING.”
My personal reaction to Aegypt was not unlike Pierce reading Kraft’s manuscript: I felt as if all my research into historical fantasy, Guy Gavriel Kay, and even my novel, had finally prepared me to read John Crowley. I first heard of Aegypt researching the historical fantasy genre. The personal research I conducted for my novel Intelligence—research into Giordano Bruno, John Dee, hermeticism, and the Elizabethan era, for example—also found echoes in Aegypt: The Solitudes. It was rather like looking in a strange mirror, seeing myself reflected in Pierce and Kraft’s endeavours. While I cannot say with certainty that Aegypt will form the subject of my MA thesis, I believe I must reckon with it if I wish to continue studying historical fantasy.
The worst praise I could give for Aegypt: The Solitudes is that it is like reading a classier, finer, more intellectual DaVinci Code, if you leave out the thriller elements. Comparing Crowley to Dan Brown is unfair for a number of reasons, but if you like Brown’s thrillers of hidden histories and secret societies, you will have a natural affinity to Crowley, who is undoubtedly the better artist.
For those of you who love literary fiction and are thinking about dipping into historical fantasy, but are afraid you might not enjoy it, reading Aegypt will familiarize you with the ideas behind the best historical fantasy, while not obligating you to leave the confines of literary fiction. For those of you who love fantasy or historical fiction, then Aegypt‘s blend of history and fantasy offers a rewarding literary reading experience.
Over the summer, I was debating what kind of new short story I should write, when I found myself gravitating towards the technical challenges and experimentalism that the Assassin’s Creed franchise might inspire in fiction. What really got me thinking was how to represent the experience of entering an Animus in fiction.
The Animus machine in Assassin’s Creed splices two consciousnesses. Tracing ancestral memories through a subject’s DNA–an intriguing bit of pseudoscience–an animus can make you re-experience the memories of distant ancestors. In the game, the modern-era protagonist Desmond Miles revisits worlds of Crusade-era Jerusalem as his distant ancestor Altair, then sees Renaissance Italy through the eyes of Ezio Auditore, before experiencing the American Revolution through the eyes of Connor, a Mohawk.
There are certain rules to the Animus. For example, the bleeding effect: too much time spent in the Animus can cause your visions of the past to appear, ghostlike, in the present. This can lead to madness, as it does with Subject 16 in the game. Also, it is (or should be) impossible to view later memories of an ancestor, if he or she conceives or bears the next child in the subject’s bloodline. The child’s DNA would contain the ancestral memories of both parents, but later memories of his or her parents would be lost, since chromosomes are obviously not given to children after conception. The possible conflicts inherent in this conundrum are not explored in the game. In fact, they are outright ignored in Revelations.
Thirdly, there is the entire concept of “synchronization.” In the game, Desmond’s DNA grants him access to certain early memories, but only through completing memory sequences can he uncover later, or even repressed, memories. Synchronization is an organic way to explain why Desmond must progress through a series of “levels” in the game. But is Desmond passive to Ezio’s memories, or does he engage actively with them? Most of the time, it seems that Desmond is only seeing through Ezio’s eyes what happens. However, if you kill a civilian, fail to complete a level, or die in the game, you “de-synchronize” with Ezio’s consciousness. Desmond has to repeat all the actions Ezio performed in real life. But he does them in a kind of liminal space between history and the player’s failures to “synchronize” perfectly. For example, when you die in the game, especially by doing something stupid like falling off the top of a church steeple, a common reaction is to sarcastically groan, “And so that’s how Ezio died…” and slam the controller on the ground. The skill of players–and Desmond himself–must coincide with Ezio, or all is lost.
All this to say, there is a nonlinear nexus where Ezio’s actions can coincide with Desmond’s or not, a kind of free, Matrix-like world created in the universe of artificial experience that the animus creates. This space not only causes us to ask, “Is this the real world, or just an illusion?” but even makes us ponder, “Is Ezio’s history real, or is the world created by the Animus itself, only an illusion, like a computer game?” (Perhaps Abstergo Industries, the all-powerful organization that invented the Animus, controls perceptions of the past in this way. THAT would make waves. A dilemma never addressed in the game.)
Now that those who may be unfamiliar with Assassin’s Creed have an idea of how the Animus is supposed to work, let me address my initial question: how can literature represent the unique consciousness of a subject like Desmond in the Animus? Two minds vying for the same stream of consciousness make it a challenge to write well–even omitting the whole paradox of synchronization.
Before I get into my analysis, I must clarify that the challenge of the Animus POV extends much, much farther than the world of Assassin’s Creed and its novelizations (none of which use experimental language). One common science fiction and fantasy trope, to cite one example, involves aliens and other creatures who are able to share memories instantly with other organisms, at touch. I believe Vulcans and Na’vi fall under this category, neither of which are limited by the paradoxes of the Animus technology. Furthermore, a fantasist can imagine an infinite number of other ways in which memories can be stored inside inanimate objects and reproduced in the character’s consciousness when activated. I recall Harry Potter’s adventures in the pensieve, for example–not to mention Kimberly Ford’s flashes of Seer insight in Fionavar Tapestry. The great virtue of revisiting memories is that you can make characters re-experience backstory and elide much of the drawl of re-telling history.
My method of representing the Animus viewpoint is as follows: I wrote a story where I began with one consciousness that exists in normal circumstances, made it pass through a transitional phase through the Animus, and then found some way to represent the nexus of consciousnesses within the Animus itself. First person “I” and third person “he/she/it”: these pronouns each create a certain effect when used with either the present or past tense (I left out ‘you’ because the second person is too experimental and thus an unstable ground on which to test this already-experimental strategy). Perhaps it is best for Desmond’s consciousness to be distinct and separate from Ezio’s, which would be a clean, clear reading experience. If we want to experiment with synchronization, however, we might try to keep Desmond’s mind somehow in dialogue with Ezio’s viewpoint, like some kind of self-conscious narrator in Ezio’s story. A happy in-between may also be possible…
If you try to combine the first person with the third person perspective, then make both either present or past tense–and then repeat them again, to form the total number of possible combinations–then you end up with 16 possibilities. These combinations do not employ the synchronization paradox (that, later), but some have the benefit of clarity. I have included the list of aesthetic effects I observed below:
Desmond – Ezio
I am – I was: This combination causes Desmond’s viewpoint to become lost in an ancestor’s voice, who retells his story in the past tense, as though it has already happened. The voices are distinct, but the perspectives do not synchronize.
I am- I am: Smooth transition from POVs. Immediacy, in-the-moment. Subjective, so close to a direct experience. Desmond is perfectly synchronized to the second POV to the point where he seems to transform into Ezio and acquire his sense perceptions.
I am- He was : I found that this combination distanced Desmond from Ezio. Desmond ends up describing Ezio’s viewpoint after-the-fact, as though he left the animus and is now explaining what he saw. Or perhaps the narrative’s camera follows the ancestor over his shoulder.
I am- He is: Really postmodern effect. The character loses control of his own narrative, stops telling us his direct experience, and another unknown, possibly non-participant narrator begins telling his story from above.
I was-I was: This effect is like ‘normal’ literature. Desmond is simply revisiting a memory in his own past, in a flashback where he imagines himself revisiting his past experiences.
I was -I am: Decent synchronization effect, and a reasonably smooth transition. To my ears, at least, it did not feel so much that Desmond’s POV became Ezio’s or that Desmond’s POV was replaced by Ezio’s, but that Desmond was wearing the skin of Ezio for a while, as though he was playing his part, a bit like an actor. Not perfect synchronization, but does present an interesting effect that can absolutely work.
I was -He was: There is no direct synchronization, Desmond watching Ezio from a detached, almost God-like or narrative standpoint. Unless explained in the text, we do not necessarily understand their minds to be melded in one; he could simply be watching a video of Ezio moving.
I was – He is: Like ‘I am-he is,” the character loses control of the narration of his own story. However, the transition between past tense to present, which is a bit arbitrary, threw me off and sounded clunky. Not recommended.
He was – I was: Ezio ends up speaking about himself, but it runs a bit clunky. Not immersive: there are two viewpoints being juxtaposed.
He was – I am: Tense difference can be choppy, but it requires the ancestor to have a distinct, immediate voice.
He was – He was: Like normal literature. Desmond is simply reliving his past.
He was – He is: An interesting effect. The synchronization is such that it feels like though Desmond is playing Ezio’s role, (as in “I was-I am”) only it is told with more distance, so the effect of role-playing is reduced. Also, since the Ezio POV is so immediate, it is not necessarily true that it is presenting a linear narrative–only a series of immediate sensations and experiences. This can enable you to scramble the order of the ancestor’s story.
He is – I was: The effect of this is like a retelling in Ezio’s journal. It is strange to use to create the illusion of synchronization, but still viable as a technique. Desmond’s experience of Ezio seems second-hand.
He is – I am: Feels more synchronized than if past tense was used. Ezio ends up speaking about himself in a separate viewpoint, but a clever person might be able to make it clear Desmond is somehow integrated into Ezio’s consciousness, since the experience is in the present-tense with both characters.
He is – He was: Feels like Desmond is visiting his own memory. But the difference in tense makes it awkward, like a failed transition into a normal flashback.
He is – He is: Perhaps the easier, most viable, though one of the least experimental, of these options. The present tense makes it immediate and the consistent third person makes the transition smooth. It is almost as if Desmond has physically turned into Ezio. In fact, this point of view might be effective for metamorphosis stories. Unless we are reminded that Desmond’s own body is still lying in the animus, it will seem to be a complete transformation.
When Desmond and Ezio’s scenes are told from either the same tense or same person, it is generally more effective–although there are some interesting effects that can work where there is a difference. Now, there is one last problem: accurately describing the synchronization process–how Desmond’s mind might occasionally conflict with Ezio’s memory. One solution is to elide this dilemma entirely. After all, losing synchronization does not have to be a danger in a fictional world in the way it must be in the Assassin’s Creed video game. Your readers cannot “lose” a story, unless you’re writing a Choose Your Own Adventure. However, if I were to encounter this dilemma head-on, I might write something like this:
“Desmond sat down in the Animus as Rebecca’s fingers clacked over the computer keys. The pulse of electricity surged up his spine as he closed his eyes. When he opened them, he was no longer in the cave, but in New York, in the midst of a crowd of merchants. It was a market day in 1781. Connor felt angry today and Desmond could see why: the man in the blue coat standing near the bench on the other side was Haytham. I don’t have to see him yet, thought Desmond, and walked into an alleyway. His body was not sore, refreshed from Connor’s last fight, so he climbed onto the roof of the print shop when he spotted a piece of Ben Franklin’s almanac flying in the wind.”
Chasing the almanac page is literally a side-quest in the game, translated directly to the page, and threatens only to be a distraction, however. For a tighter narrative, either Desmond would have to search for something important that he would have motivation to find in 1781 New York, or he would go right towards activating the next memory, by speaking with Haytham.
“”Connor,” said Haytham. “You’re late.”
“I came as quickly as I could,” said Connor.
“Follow me. We have a matter at the brewery.”
Desmond remembered Rebecca and Shawn had found something in the Abstergo database about the Old Brewery. He followed Haytham, keeping an eye out as Connor made an angsty sound in his throat, at his father who cared nothing for him. Perhaps he and Connor had more in common than he’d thought–he’d been riled up against his own father, William Miles, earlier.”
If this style of writing satisfies, then my job is done. In conclusion, I have isolated five types of perspectives that can be written, which have resulted from this experiment:
-Split Synchronization (as above)
–Straightforward Transformation of Consciousness: “I am/I am, “he is/ he is,” and “I was/I was,” “he was, he was.”
–Remembrance of things past: “I was /I was” and “he was/ he was.”
–Non-linear/Timeless animus effect: “He was / He is,” “I was / I am.”
–Journal memories: “He is/ I was,” “I am/ he was” “He was / I was” “I was/ I was”
The following are some examples of these last four types, made essentially by taking the first paragraph of Desmond’s above story and changing the tense and person accordingly. Taste the effects like a subtle wine.
Transformation of Consciousness: “I am sitting down in the Animus as Rebecca’s fingers clack over the computer keys. The pulse of electricity surges up my spine. I close my eyes. When I open them, I am no longer in the cave, but in New York, in the midst of a crowd of merchants. It is a market day in 1781. I am angry today: Haytham Kenway, my father, is standing there in his posh blue coat over by the bench on the other side. He looks restless, expectant.”
Remembrance of things past: “Desmond sat down in the Animus as Rebecca’s fingers clacked over the computer keys. The pulse of electricity surged up his spine as he closed his eyes.
He was in New York, in the midst of a crowd of merchants. It was a market day in 1781. He felt angry today: Haytham Kenway, his father, was standing there in his posh blue coat over by the bench on the other side. He looked restless, expectant.”
Non-linear, timeless Animus effect: “I sat down in the Animus as Rebecca’s fingers clacked over the computer keys. The pulse of electricity surged up my spine as I closed my eyes.
I am no longer in the cave, but in New York, in the midst of a crowd of merchants. It is a market day in 1781. I feel angry today: Haytham Kenway, my father, is standing there in his posh blue overcoat by the bench on the other side. He looks restless, expectant.
Rebecca’s voice in my ear tells me to prepare for step back in time. The cityscape vanishes into blue squares and formless shapes while the Animus knits the world back together. Suddenly it is 1776. I’m younger, staring at my father as he waits below the State House, whispering to Charles Lee. The Boston Massacre is about to begin.”
Journal memories: “Desmond sat down in the Animus as Rebecca’s fingers clacked over the computer keys. The pulse of electricity surged up his spine as he closed his eyes…
I was angry today: Haytham Kenway, my father, was standing there in his posh blue overcoat by the bench on the other side of the market. He looked restless, expectant. What could I do, if the Templars have a chance of winning this war? Benjamin Church must pay for his crimes.”
Which passage most pleases the ear? I leave that up to you decide…
“Tigana, let my memory of you be like a blade in my soul.”
-Guy Gavriel Kay, Tigana
Alessan’s mantra for his beleaguered nation, erased from history by the tyrant sorcerer Brandin of Ygrath, forms a central node in the theme of exile and memory in Guy Gavriel Kay’s Tigana. A novel set in the Peninsula of the Palm, a landmass that more or less corresponds to Italy, Tigana borrows much of its inspiration from the Italian Renaissance era of warring city-states.
Brandin’s court is like that of the Medici or the Borgia. Ygrath and Barbadior’s conquests can be compared to the expansion of the empires of Spain and France, which were drawn into Italy by unwise allies who wished for them to intervene in their internecine rivalries with city-states such as Florence, Venice, Genoa, and the Papal States. The allies paid for this by being overcome by kings and emperors much more powerful than their own states.
Famously, one man who advised against taking such action was Niccoló Machiavelli. He wrote The Prince—a notorious book, one of the first on pragmatic political science—to advise Lorenzo de’ Medici (grandson of Lorenzo the Magnificent) on how to act wisely as the governor of Florence.
In his final chapter, he exhorts Lorenzo to liberate Italy from “the barbarians,” likely a reference to the foreign armies of France and Spain who have taken up permanent residence on Italian lands. It is my observation that Machiavelli’s ideal to for Italian unification—something never accomplished until the efforts of Garibaldi in the nineteenth century—stems from the same national pride as Alessan feels in Tigana.
Which led me to wonder. If Guy Gavriel Kay used Machiavelli in his research, then in what ways could a reading of The Prince enrich our understanding of the conflicts in Tigana? Or a more precise question: is how Machiavelli understands memory and history the same as how Tigana understands it, or is there a difference?
On the surface, Machiavelli’s world—in ways I have already described—greatly resembles the world of Tigana. Brandin himself is a Machiavellian figure, a real Prince interested in establishing his authority across the Peninsula by driving out his rival Alberico of Barbadior. He superficially agrees to the terms of a peace treaty, while scheming to destroy Barbadior the moment it becomes convenient to break the agreement. Alberico, of course, plans to do the same, in a kind of polarized Cold War scenario where only the province of Senzio (perhaps a surrogate for Venice) remains neutral.
Machiavelli has several things to say about memory in The Prince. Some advice that he gives to Lorenzo may as well have been given to Brandin. For example, read the following paragraph from Chapter 5 on “How you should govern cities or kingdoms that, before you acquired them, lived under their own laws”:
“Examples are provided by the Spartans and the Romans. The Spartans took Athens and Thebes, establishing oligarchies there. However, they lost them again. The Romans, in order to hold on to Capua, Carthage, and Numantia razed them and never lost them. They sought to govern Greece according to more or less the same policies as those used by Sparta, letting the Greek cities rule themselves and enforce their own laws, but the policy failed, so in the end they were obliged to demolish many cities in that territory in order to hold on to them. The simple truth is there is no reliable way of holding on to a city and the territory around it, short of demolishing the city itself.He who becomes the ruler of city that is used to living under its own laws and does not knock it down, must expect to be knocked down by it.Whenever it rebels, it will find strength in the language of liberty and will seek to restore its ancient constitution. Neither the passage of time nor good treatment will make its citizens forget their previous liberty.No matter what one does, and what precautions one takes, if one does not scatter and drive away the original inhabitants, one will not destroy the memory of liberty or the attraction of old institutions. As soon as there is a crisis, they will seek to restore them. That is what happened in Pisa after it had been enslaved by the Florentines for a hundred years” (17, my Italics).
Brandin, after conquering the province of Tigana after the Battle of the River Deisa, destroyed its main cities: Avalle of the Towers and the capital Tigana. Avalle, which was inspired by San Gimignano, once had many towers that stretched to the sky. But Brandin’s forces knocked them down, in order to ensure the city’s submission to his rule. Tigana itself (based on Florence, perhaps) was demolished as well, and renamed Lower Corte—Corte having been its bitterest enemy. Avalle was renamed Stevanien, after Brandin’s son, who was killed in battle. These policies seem to be directly inspired by Machiavelli’s advice to Princes in Chapter 5.
The tyrant’s spell adds an extra layer to the political-military strategy of Machiavelli: he uses magic to erase the very name of Tigana from memory and make its name unpronounceable. One particular difference from Machiavelli’s dry strategy and Brandin’s motive to demolish Avalle is that the Tiganese killed his son and he wanted revenge. This does not mean that Brandin acts on his emotions, however. He only knows where to direct his temper. Machiavelli advises on several occasions that a Prince should “lose his temper” deliberately under certain circumstances, such as when he is being lied to (105). The demolition of Avalle would have been one such well-advised occasion for Brandin to become angry.
Machiavelli may have also unknowingly given Brandin the idea to create his spell of obliteration, if the two had ever met in some other dimension. In Chapter 1 of The Prince, Machiavelli remarks how hereditary principalities—territories where it is traditional for a particular aristocratic family to inherit power—are by far the easiest to hold, compared to republics. “Because the state has belonged to his family from one generation to another, memories of how they came to power, and motives to overthrow them, have worn away,” he advises (7).
Brandin was not necessarily planning to share or to pass on his rule. But the implication of how enough time passing eventually legitimizes the rule of a Prince may have attracted to him. Since sorcerers can live to advanced age in Tigana‘s world, he plans to outlive all the Tiganese exiles, who alone carry the memory of their homeland. Once they die, Lower Corte would know no better than that Brandin is the right and honourable ruler of the land.
In addition to these specific remarks about the ability of a ruler to hold onto power by controlling memory, Machiavelli has an understanding of history’s usefulness in deciding policy. He constantly draws upon the patterns of the past in order to find examples that can advise rulers on present courses of action and on their future ambitions. The exploits of ancient Greeks and Romans—some real, others fictitious—are on par with those of other Renaissance Italian Princes, such as Cesare Borgia, Alexander VI, and Savanarola, as examples of what-to-do or what-not-to-do. He assumes the past serves as a map for the unknown.
Kay would use the metaphor of a mirror. “With bronze as a mirror one can correct one’s appearance; with history as a mirror, one can understand the rise and fall of a state; with good men as a mirror, one can distinguish right and wrong”: the epigraph from Under Heaven (by Li Shimin, Tang Emperor Taizong) can apply just as much to Machiavelli’s understanding of political history, as to how Kay invites us to understand history.
That being said, Machiavelli has his detractors, to say the least. Francesco Guicciardini, a contemporary and a friend of Machiavelli, questioned even the usefulness of bringing the past to bear upon the present, although the patterns might be there for anyone to observe. Who, after all, can say they have ever successfully predicted the future, simply by looking at the past? He also believed that all men, though subject to sin, were essentially good—which Machiavelli’s pessimistic yet pragmatic philosophy seems to deny. “This is how it has to be,” says Machiavelli, “for you will find men are always wicked, unless you give them no alternative but to be good” (73).
Which brings to mind another cynical philosopher and his ideas of history and morality—Friedrich Nietzsche. Notorious in the twentieth century for his belief in Social Darwinism, which inspired the racialist ideas of Adolf Hitler, Nietzsche argued in Geneology of Morals that men behave good because they were given no other alternative.
Like Machiavelli, Nietzsche believed that the autonomy of the sovereign was mutually exclusive with morality. He also believed that all morality developed out of primitive ideas of punishment—that morals were literally beaten into our forefathers, so that as we evolved, we came to obey the laws better. For example, the brutal uses of capital punishment in the past—strangulation, hanging, drawing and quartering, beheading—produced the more civil society we live in during the present day.
I seriously doubt his conclusion on that last point. Nietzsche’s perception is affected by his retrospective analysis. I believe modern “civilization,” as he calls it, emerged because we rejected the brutality and absolutism of the past, not that brutality shaped our modern civilization. However, the idea that morals come from the memory of punishment is interesting in relation to Tigana: the idea that memory is directly tied to pain:
“Tigana, let my memory of you be like a blade in my soul.”
When Alessan speaks these words, it could be said he engages in a (somewhat) Nietzschean understanding of memory—and by extension, perhaps of history and morality as well. He must recall the pain of his exile in order to force himself to remember his nation—and then take moral action.
Nietzsche and Machiavelli exist simultaneously in Tigana: memory (problematically) is both ingrained by pain and an intellectual tool with which to gaze into the past. The heroes of Tigana do not let their fear of punishment lead them to submit to tyrants, but they do wish to experience pain, if it preserves the memory of their homeland. And that experience of self-inflicted pain guides their self-defined morality, to do anything they can to liberate themselves from Brandin’s yoke.
But does morality itself suffer under Alessan’s model? If we can determine our own morality by deciding what to remember and forcing ourselves to remember it—carrying all the pain that memory can bring—can we be expected to reach rational decisions that respect our fellow human beings? Or could this kind of morality cause us to act according to our passions and, more importantly, our self-interest—one of the guiding human principles that Machiavelli (and notably, Thomas Hobbes) understands as the source of all human endeavour?
Just as Brandin is a tyrant, Alessan is literally a Prince. Brandin’s morality—if he has any—is almost driven entirely by the interests of himself as ruler, and those of his state. But behind this self-interest is the burning memory of Stevan’s death at the River Deisa. Prince Alessan, like Brandin, carries the Deisa in his memory, but for different reasons. His father Prince Valentin died in battle, leaving Alessan without a principality to call his own. Is Alessan simply motivated by jealousy for Brandin and his own interest in becoming ruler? Is his nationalist rhetoric only a facade?
Kay intentionally makes Brandin a foil of Alessan, adding good qualities to Brandin and evil qualities to Alessan. For example, Alessan must enslave Erlein di Senzio as his wizard servant, in order to for his master plan to work. Should a man so preoccupied with liberty be damned for making a slave of one man? (Perhaps someone ought to have asked the leaders of the American Revolution this same question, many of whom owned slaves.) Furthermore, Brandin, however ruthless, also has feelings. Dianora, his favourite woman in his saishan and a Tiganese herself, notices that he cared an enormous amount for his son and that he never forgave himself for sending him to fight in battle. She intends to kill Brandin to avenge her country, but finds herself loving the man she has schooled herself so long to hate—even saving him once from an assassin.
Guy Gavriel Kay’s George Seferis epigraph sums up his own beliefs in the ambiguity of holding onto memory:
“What can a flame remember? If it remembers a little less than necessary, it goes out; if it remembers a little more than is necessary, it goes out. If only it could teach us, while it burns, to remember correctly.”
A long enough memory can produce a desire in you to avenge all the wrongs ever done to your kind. Witness the damage that extensive memories wreck in Middle East daily. Even Nationalism, which seems a noble enough ideology until you remember the twentieth century, can go too far. Yet having no memory at all utterly robs you of any identity. I like imagining all the whitebread kids lost in the suburban USA being asked what their heritage is, and being unable to answer “English” or “Irish” or “Welsh” or “Scottish.” Assimilation into a melting pot can do as much to erase memory as Machiavellian attempts to snuff it out all at once.
Does Alessan remember correctly? Does Brandin? The answers are ambiguous, although most readers will probably side with Alessan. But it cannot be ignored that Alessan may have easily turned into the villain in Tigana. Nietzsche argued sovereigns were above morality. Yet, following one’s own painful memories might have caused Alessan to think himself above morality while rebelling against the sovereign Brandin, in an effort to fight fire with fire.
Tyrant and rebel: an age-old conflict. Each obeys no law and each is the antithesis of the other. Yet, they are, in so many ways, the same. Nietzsche believed the laws we live by were oppressive. Yet, he also (quite famously) saw a way to rebel against such authority. The creed of the Ismaili Assassins said, “Nothing is true; everything is permitted.” Truths established by tyrants create a certain morality, so disbelieving in those truths frees one to perform any action suitable to overthrowing that power.
Does Alessan follow a similar creed, or does he too have a belief in truth, in morality? It would be worth a re-reading of Tigana to see just how much Alessan uses ends to justify means.
But turning away from Tigana now, other questions emerge. What are the dangers of the Assassins’ creed? If everything is permitted, do we have Hobbes’ State of Nature on our hands? Would followers of the creed then become self-interested, build up social contracts, and then begin punishing others when the contracts are breached, beginning the process of moral development all over again?
Let these questions stand as food for thought. It is not my place now to answer them, and I’ve rambled on enough as it is. But I believe it’s safe to say that memory can be a dangerous thing, especially when it forces us to disregard morality. Perhaps it depends on what we choose to store in our memory as well: if we keep hoarding pain, the fire of memory will grow so large it will consume us.
Feed the fire, but not to excess.
Kay, Guy Gavriel. Tigana. Toronto: Penguin, 1992. 1-793.
Kay, Guy Gavriel. Under Heaven. Toronto: Penguin, 2010. 1-710.
Machiavelli, Niccolò. Selected Political Writings. Ed. David Wooton. Indianapolis: Hacket, 1994. 5-80.
Nietzsche, Friedrich. “Morals as Fossilized Violence.” The Prince. Transl. Francis Golffing. Ed. Robert M. Adams. New York: Norton, 1977. 253-275.
Rudowski, Victor Anthony. The Prince: A Historical Critique. New York: Twayne, 1992. 12-17
A group of editors gets together to write a parody of a conspiracy theory. What if the parody ends up becoming perceived as the source of ultimate truth for an actual underground group that styles itself after the Templars and Rosicrucians?
The answer lies in the pages of Umberto Eco’s intellectual thriller Foucault’s Pendulum. In a way, the book is Dan Brown on steroids. Conspiracy theories abound in dizzying multitudes. Heretics, Knights Templar, Assassins, cabalists, Diabolicals, Masons, Jesuits, the Bavarian Illuminati, and the School of Night all become implicated in one giant Plan that spans centuries and has formed the very shape of history.
The editors at Garamond Press in Milan, Italy compose the Plan as a parody of a Templar plot that Colonel Ardenti believes he has uncovered from evidence found in Provins (Provence). However, as the editors mock Ardenti’s leaps in logic, their research into secret societies and the occult inspire them to create their own ultimate Plan.
However, the pastime, begun for the editors’ amusement, eventually begins to poison how the editors think. The Plan becomes real; life imitates art. And the central object that ties the created reality together—the thing that may reveal the greatest secret of all—is Foucault’s Pendulum, located in a Paris museum.
Though it was published in 1989, Foucault’s Pendulum continues to excite readers today. With the popularity of such authors as Dan Brown, author of The DaVinci Code and Angels & Demons (and his new thriller Inferno), interest in conspiracy theories and secret societies is running high.
Also, if reading Foucault’s Pendulum, you are reminded of the Assassin’s Creed video game franchise, you were not alone. In the Plan, Ismaili Assassins inspire the secret rites of the Templars, and dispense secret information to them about a powerful artifact with which they could control the world.
Perhaps Foucault’s Pendulum inspired Assassin’s Creed; perhaps Assassin’s Creed inspired Foucault’s Pendulum! After all, the programers were (obviously) Assassins themselves… And the only way to tell if someone really is an Assassin, is if they deny it.
Such is a sample of the kind of warped thinking into which the editors of Eco’s thriller fall. It combines the paranoid thought patterns of conspiracy theorists and witch hunters with the ars combinatoria, which seeks to interconnect all human knowledge. In Cabala, for example, passages of Hebrew scripture may be randomly combined with each other in order for new truths to emerge. In a similar way, the editors of Garamond Press enter statements of knowledge into a computer called Abulafia, which reconnects the entered statements randomly. Thus they emerge with a list, such as the following:
“The Templars have something to do with everything
What follows is not true
Jesus was crucified under Pontius Pilate
The sage Omus founded the Rosy Cross in Egypt
There are cabalists in Provence
Who was married at the feast of Cana?
Minnie Mouse is Mickey’s fiancée” (364).
The editors connect the random terms into a narrative and come up with the grand and exquisite claim that Jesus was actually married to Mary Magdalene and it was His marriage that was feted at Cana. In a clever way, Eco ridicules the exact same Templar conspiracy discovered in The DaVinci Code, which (coincidentally?) reveals the “truth” about Jesus Christ.
This is one example of Eco’s exploration of signs and symbols and how people connect them all together, even when no such connection exists objectively. It is the way that Garamond Press’ target audience, the Diabolicals, think.
I personally find Eco’s ideas fascinating, especially in the context of historical fantasy. In Under Heaven, Guy Gavriel Kay discusses the philosophical implications of how desire influences how narratives of random historical events are told. These events become signs of a pattern, or signs of a plan to history’s unfolding. Eco shows how such plans may be interpreted from random data. Furthermore, he implies that in hyperreality, a universe where reality has largely been replaced by symbols and simulations of reality, the creation of such a plan in a spirit of fictitious play may have actual, historical consequences.
Eco explores these ideas because he is a semiotician, a scholar who studies the structure of signs and the processes in which they develop signification. For example, his most famous novel, the medieval mystery The Name of the Rose, explores how signs can be interpreted, or misinterpreted. In Foucault’s Pendulum, Eco explores similar themes. Symbols and signs have such a wide range of meanings that everything (a rose, a triangle in a Leonardo DaVinci painting, historical events) can be interpreted in hundreds or thousands of different ways.
Indeed, it would be a legendary meeting if it were possible for Eco to meet Dan Brown’s protagonist Robert Langdon, who is a symbologist, a professional who interprets the historical meaning of symbols. While Langdon sees a triangle in Leonardo DaVinci’s Last Supper and interprets it as a symbol for the sacred feminine, Eco would perhaps more closely analyze at the process of how Langdon came to make that interpretation. Perhaps Leonardo had intended to make a symbolic triangle. Then again, the triangle may have been a random shape that Langdon only perceived to signify something.
We see symbols everywhere, but where are the real ones? This is a mystery that Eco leaves ambiguous, to his credit. After all, life is much more interesting with symbols to interpret that do not have fixed meaning.
On the whole, Foucault’s Pendulum makes for an engrossing read. Irony, a concern with symbols, and plenty of lists: these signature features of Eco’s style combine to create a unique reading experience. As the Garamond Press editors formulate the Plan, scenes pass almost exclusively in dialogue-based exposition, but somehow, Eco makes it work. Do not expect Eco’s thriller to read like a Dan Brown novel, but expect it to be richer, to fascinate and challenge you intellectually.
And take care you don’t become a Diabolical while reading it.