4 Stars
The novel, set in Toronto, begins with the birth of its protagonist Henry in 1916. Henry is raised by his grandmother who for his eighth birthday gifts him a box of colouring pencils, thus beginning his passion for colour and art which eventually translates into a career as an art historian. His love of art and the stories of the great artists also help him navigate through his life which includes struggle and tragedy.
The structure is not what one finds in most novels. Henry’s story is interspersed with factual information, most often about colour, artists, and artistic movements. It is best not to actually think of this book as a novel; it begins with a brief discussion of Sei Shōnagon’s Pillow Book, “a collection of anecdotes, musings about life . . . favourite quotations, poetry, lists, daily affirmations – to be for her eyes only” and a zibaldone, “an informal miscellany containing everything from landscape sketches to currency exchange rates, medicinal recipes to family trees.” This opening explains what this book is, a personal journal of sorts which Henry keeps within an art history textbook.
The book ends with a mention of the journals of Marcus Aurelius and their “notes and philosophical mementos intended solely for personal guidance and self-improvement . . . at times written in the second person, and vary in length from one sentence to several paragraphs.” Leonardo da Vinci’s description of his notebooks is quoted: “’without order, drawn from many papers, which I have copied here hoping to arrange them later, each in its place, according to the subjects of which they treat.’” These references again remind the reader of the author’s intention. Interestingly, the second person point of view is used in that Henry is addressed as “you.”
The non-fiction elements, which read like anecdotes that Henry in his role as professor or art history might mention in a class, are not entirely random: logical connections can be found. For instance, his despair after the death of a loved one is interspersed with references to Manet’s painting entitled Le Suicidé; suffering the psychological effects of warfare, Henry thinks about van Gogh’s mental health issues; and a woman introducing herself as Pazienza has Henry thinking of Behan’s engraving entitled Patientia. The Yann Martel quotation at the beginning (“Art is seed, art is memory, art is vaccine”) is an excellent summary of the theme of this book.
Readers will find themselves empathizing with Henry. He is a sensitive soul who struggles to find his way in life and who experiences more than one trauma. His comment about 1941 is truthful foreshadowing: “It is the last time you remember not having a worry in the world.” I kept hoping that he would find peace and happiness.
This book will not be for everyone. At first, I was frustrated with the constant digressions but I was won over. My interest in art and art history obviously influenced my reaction. I was familiar with some of the paintings referenced but not with others, and I can see myself re-reading the book and looking at photos of the paintings. I was reminded of my enjoyment of A History of the World in 10 ½ Chapters by Julian Barnes which includes a detailed analysis of Géricault's painting, The Raft of the Medusa.
This is not a lengthy read and a reader willing to be open-minded may be surprised by how the book will resonate.
Note: I received a digital galley of the book from the publisher via NetGalley.
It looks like an interesting read Doreen. Thank you.
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