Little, Brown, 2009
The most compelling reason to read a novel is that it has a story that clutches the reader. The story, whether it is a murder mystery or love story, must have dramatic tension. The characters must move the reader with love or loathing; there is no in between. The tempo at which the story unfolds must fit.
Elizabeth Kostova (2005 interview) has met each of these criteria in her newest novel, The Swan Thieves. The painter Robert Oliver has attacked a painting, "Leda," in the National Gallery of Art in Washington, but he seems to have let himself be stopped before actually doing irreparable damage. Why? He will not say, except to reveal, "I did it for her." Who is she? What is the function of the packet of old letters he has? What are the connections? Is he mentally ill or is he driven by some other purpose?
The most compelling reason to read a novel is that it has a story that clutches the reader. The story, whether it is a murder mystery or love story, must have dramatic tension. The characters must move the reader with love or loathing; there is no in between. The tempo at which the story unfolds must fit.
Elizabeth Kostova (2005 interview) has met each of these criteria in her newest novel, The Swan Thieves. The painter Robert Oliver has attacked a painting, "Leda," in the National Gallery of Art in Washington, but he seems to have let himself be stopped before actually doing irreparable damage. Why? He will not say, except to reveal, "I did it for her." Who is she? What is the function of the packet of old letters he has? What are the connections? Is he mentally ill or is he driven by some other purpose?
The narrator, Dr. Andrew Marlow, has taken the precaution of changing all the names, including his own, even ten years after the events of the main story. It is a time-worn literary device used to grand purpose here. An amateur painter himself, Marlow seems to be the perfect psychiatrist to examine Oliver and determine his sanity and the best way to treat him. First, he must get Oliver to talk, which leads Marlow to the letters. Oliver may qualify as the only main character in a novel who speaks fewer than 100 words.
The series of letters, which seem to have no connection to Oliver, were written by one Béatrice de Clerval Vignot. They began in 1877 addressed to "Chez Monsieur" and end in 1879 addressed to "My beautiful one." The search to discover who they were and how they are connected to Oliver a hundred years later is the central story. Marlow seems to be as fixated about solving the riddle as the patient he is treating.
The series of letters, which seem to have no connection to Oliver, were written by one Béatrice de Clerval Vignot. They began in 1877 addressed to "Chez Monsieur" and end in 1879 addressed to "My beautiful one." The search to discover who they were and how they are connected to Oliver a hundred years later is the central story. Marlow seems to be as fixated about solving the riddle as the patient he is treating.
The search takes Marlow on a peripatetic odyssey from his base in Washington to the mountains of North Carolina and the countryside of France. Along the way he meets Oliver's ex-wife, ex-girlfriend, and others who provide him with the clues he needs to solve the puzzle that Oliver presents. Each character and location is brought to life with the same deft strokes that we have become so quickly accustomed to.
Although Kostova imbues this tale with the same level of skill and attention to detail that she demonstrated in The Historian, the novel that made her famous, there are apparent weaknesses. Had she written one hundred fewer pages and tightened the dual narratives, this would have been a much stronger book. The actions of Marlow do not meet the standards expected of one's therapist. He certainly exhibits obsessive-compulsive behavior and he crosses the line in professional behavior, including trespass and theft. Another weakness is the lack of a differentiated voice among the characters who speak about painting, whether a 20th Century psychiatrist or 19th Century female painter. They sound too much alike. Finally, the resolution with Oliver is too facile, too quick.
Despite these relatively minor quibbles, The Swan Thieves remains a good story and well worth the time it takes to read.
Although Kostova imbues this tale with the same level of skill and attention to detail that she demonstrated in The Historian, the novel that made her famous, there are apparent weaknesses. Had she written one hundred fewer pages and tightened the dual narratives, this would have been a much stronger book. The actions of Marlow do not meet the standards expected of one's therapist. He certainly exhibits obsessive-compulsive behavior and he crosses the line in professional behavior, including trespass and theft. Another weakness is the lack of a differentiated voice among the characters who speak about painting, whether a 20th Century psychiatrist or 19th Century female painter. They sound too much alike. Finally, the resolution with Oliver is too facile, too quick.
Despite these relatively minor quibbles, The Swan Thieves remains a good story and well worth the time it takes to read.
