Artists, the American poet
Ezra Pound wrote, are the antennae of the race. I had just finished a passage in
Thomas King’s The Back of the Turtle that
describes an environmental catastrophe when, turning on the radio to listen to
the news, I was eerily surprised to hear the first breaking reports about the
tailings-pond spill at the Mount Polley mine in central B.C. If King is going
to show this degree of prescience, I thought, he needs to be very careful what
he writes about.
The Back of the Turtle, King’s much-anticipated new literary novel, echoes
some of the themes King explored in his 2003 Massey Lecture series, The Truth About Stories. You may recall
that King began each of his lectures with a story about the earth floating on
the back of a turtle. Asked what the turtle stands on, the answer is that the
turtle stands on the back of another turtle. Asked what the second turtle
stands on, the eventual reply is that “it’s turtles all the way down.” That
seems a whimsical way of describing the world’s foundation, but these are,
after all, not physical turtles, but story turtles, and King’s ultimate point in
his lectures is that “The truth about stories is that that’s all we are.” (Mind
you, in the era of virtual reality, credit default swaps, and Bitcoin, “turtles
all the way down” can seem as much warning as whimsy.)
What would happen if all those
turtles disappeared? That’s the question King explores in The Back of the Turtle, and the question cuts a number of ways.
Environmentally, as negligence leads to an ecological disaster that wipes out
all the turtles and most other life near the west coast community of Samaritan
Bay, including the residents of the now-abandoned Smoke River reserve.
Economically, as King shifts his setting to corporate Toronto to explore how
skewed conceptions of what the bottom line really is lead to tragic
consequences. Ethically, as Gabriel Quinn, a research scientist gone AWOL, returns
to the town he helped to destroy for the purpose of destroying himself.
From Yertle the Turtle |
And, finally, spiritually.
One of the recurring pleasures of King’s works is his gift for interweaving
oral tradition and modern narrative, and a motif woven throughout his novel is
the creation story of the woman who fell from the sky. After accidentally
digging a hole in the sky, the woman tumbles
through space until she falls onto a watery earth, landing on the back of a
turtle. There she, the animals she encounters, and her twin sons work together
to create the world. Historian of religion Mircea Eliade wrote that creation
stories are not accounts of how the world was once created but are in fact
descriptions of how it is re-created every moment. But the avaricious contemporary
world of King’s novel has emptied itself of both turtles and stories. Lacking
those foundations, it’s no surprise that creation begins to unravel.
As in his other work, King
here handles things with a characteristically deft touch, a wry sensibility
that unfolds these issues through characters that intrigue and affect us: Nicholas
Crisp, a salty, Pan-like resident of Samaritan Bay who speaks in an archaic dialect
and can’t resist a nautical turn of phrase; Mara, an artist determined to face
old ghosts and re-establish her life on the reserve; and Sonny, a reclusive boy
whose attention is divided between obsessive hammering, combing the beach for
salvage, and building a beacon to call life back to Samaritan Bay (and whose
Daddy issues definitely take a capital D).
Even Dorian Asher, the CEO
of Domidion, a biotechnology and resource extraction company responsible for
multiple environmental crises, is on the one hand a repellant personification
of corporate malfeasance and on the other, with his worries about his marriage,
his obsession with style and fashion, and his pathetic inability to choose
between two thousand-dollar watches, a complex, perhaps even bizarrely amiable
embodiment of Hannah Arendt’s banality of evil. But unlike Eichmann, who was
embedded in the Nazi system, Dorian is embedded in western consumerism. Like
Arendt, King is suggesting that the roots of evil are complex and that evil-doers
are perhaps not so different from us as we would wish. The implication is that,
faced with environmental catastrophe, what is needed is not merely an easy demonization
of someone else but a broad survey of the shared landscape and a penetrating,
if discomfiting, look in the mirror.
The Back of the Turtle explores questions of recovery, both environmental
and personal, and shows the two to be intrinsically linked to each other and to
story-telling. Gabriel and Mara struggle to weave their broken histories into
coherent stories they can tell themselves and others, and then to relate their
stories to larger narratives that will provide a foundation for rebuilding the
world. Like most oral tales, King’s is,
to quote Native American scholar and writer Louis Owens, both the telling of a
story and the story of a telling.
In The Back of the Turtle an abandoned, rusty barge freighted with
deadly cargo drifts randomly through the oceans and the story. Like an
ecological Flying Dutchman, it eludes capture and is a constant, foreboding presence.
Science fiction writer Philip K. Dick once defined reality as “that which, when
you stop believing in it, doesn’t go away.” Fatigued or overwhelmed, we may shut
our eyes to the future environmental consequences of our actions, but still
they drift out there in the fog, ready to grind up inescapably on the shoals
when we least expect it. And when we try to dodge awareness of our actions’
consequences, we also lose the past in which we acted, finding ourselves
stranded in an ungrounded present. In Thomas King’s novel, only those
characters who stare the past full in the face and bravely tell or sing their
stories can hope to re-create the world, for stories, though they are made of
air, are the turtles on which the world stands.
Bruce Dadey is a devotee of all things literary,
including poetry, essays, fiction, and graphic novels. He teaches in the
English Department at the University of Waterloo.
No comments:
Post a Comment