Sometimes I reach the end of a book and really don’t know what to make of it. The Starless Sea has been one of those books.
(Study of an owl, pen and ink, French school, late seventeenth century; found here)
Never having read Morgenstern’s bestselling first novel, The Night Circus, I had no particular expectations of The Starless Sea other than stronger wrists as it is a 500-page tome. However, the promise of a quest inspired by a strange book, a dangerous secret club and a ‘subterranean labyrinth filled with stories’ tempted me to borrow it from the English-language section of my local library. Wouldn’t you?
The principal narrative in the novel follows Zachary Ezra Rawlins, a graduate student writing a thesis on video games who is also a devoted reader, and his discovery of a mis-shelved old book with no publication information. When he starts reading it, he discovers an incident from his own childhood has been printed in it. How could that be possible? The book is decorated with symbols of a sword, a key and a bee, and soon he has left the university campus for New York and a masked ball and adventures. His story is interspersed with stories from the book itself, from other books, from a diary; despite this increasingly complex layered structure it is not difficult to follow what is going on.
For what is remarkable about this novel is its lack of tension and its promotion of symbolism. I know – how can a book including a dangerous secret club lack tension? It does. The club swiftly becomes irrelevant, its leader powerless. The quest plot mainly involves Zachary wondering what the quest is. I too wondered what was going on a lot of the time. The key to the book lies in the juxtaposition of the stories and the repeated use of the symbols, and to be quite honest by the end I was mentally exhausted from the sheer size of the narrative and wanted more help from the author in deciding what was going on. Lazy reader.
There’s a scene early in the book in which a class discusses gaming as part of an Innovations in Storytelling course. They talk about how video games balance the framework of their programmed story (pre-destination, if you will) with giving the gamer the freedom to make their own choices (or exercise some free will. There are options and different possible endings, but all have been foreseen. Now, if only I had ever played a video game I think I would understand this novel a great deal better, because I think that Morgenstern is using video-game conventions to structure her novel, and Zachary – a character who exhibits very little personality and could easily stand as an archetypal reader – is our – the reader-gamer’s – avatar in the story. Morgenstern’s refusal to offer easy explanations of her book’s meaning is part of the idea that we, the reader-gamers, must decide for ourselves. This is made more explicit in the recurring stories about Time and Fate, as well as the ending, which I shall nobly resist giving away.
Another element Morgenstern takes from gaming, though it is common to a lot of fiction too, is immersiveness. I didn’t read The Starless Sea exactly to find out what would happen next, I read it for the pure pleasure of being in the worlds that Morgenstern created. Painted doors which open, precocious cats, strange visitors at a wayside inn, jealous stars. Imagine a library filled with all the books ever and never published, a sea of honey deep in the earth which is actually a sea of stories, a forest of cherry trees blossoming at night, an Owl King. Some of Morgenstern’s ideas have literary antecedents, some seem purely her own invention, all are woven together to form a book-lover’s paradise. Every time I opened The Starless Sea, I wondered what marvel I would read next.
(Still Life with a Snake, Elias Van den Broeck; Belgium, seventeenth century; from here)
For some readers, the lack of tension or character development or explication may be off-putting; for me, some of the gnomic utterances grated, and Morgenstern did not always successfully navigate the line when it came to tweeness. (And the UK cover is hideous!) However, despite all this, how could I not enjoy this beautiful expression of love for stories? I shall definitely be re-reading it as there is a great deal that I missed. (Alas for now I must return it to the library.)
(Images of blocked book covers from here.)
Meanwhile, in ‘not-buying-any-new-books-resolution’ news, I have bought:
- Of Cats and Elfin, by Sylvia Townsend Warner (well, I do have to read it for STW reading week, so that doesn’t really count)
- Glass Town, by Isabel Greenberg (really I bought it for my daughter) (when she’s older) (but I’ll read it in the mean time, silly not to)
and I have pre-ordered:
- Medusa’s Daughters, edited by Theodora Goss (which has led me to covet Handheld Press’s Women’s Weird)
The Tower of Babel, by Christelle Dabois (it’s the third in the series and I wouldn’t want to forget to read it the very moment it’s available) - The Pure Heart, by Trudi Tweedie.
So that resolution has proved strong.
But in other news, while excavating a corner of the study I found my copy of Burial Rites by Hannah Kent, which I thought I had rashly given, unread, to a charity shop. It turns out that tidying up occasionally has its uses.