Michael Helm (1)

The three stories here are all unsettling and creepy. Is it sci fi? Maybe. Ecofiction? Also maybe, but that is not the focus. We have unreliable narrators who themselves are surrounded by unreliable narrators within their stories.

I thought the first (with Ali) was fantastic--moody and creepy, the narration was great, and the ending was open and very very creepy. Ali is considering being a whistleblower regarding the pharmaceutical she helped develop (and samples regularly). But maybe this nice isolated place she rented for the winter is not quite so peaceful as she though--or is that the drug talking?

The second story (with James) was interesting but too long and a bit boring--it seemed that it might connect to the first in the mysterious pharmaceutical mentioned? James takes an odd job as a literary detective, hired to help figure out who the popular mysterious poet might be. But it seems everyone who reads too closely thinks these poems are all about their own lives and they become obsessed.

The the third story (with Celia) again featured scientific research (on pathogens, not drugs), and was also creepy and a bit too long and I just ended up being confused. Celia learns she has become the star of her father's new friend's artwork--without her knowledge or consent. And her father does not seem to care. This story reminded me of the movie Time Trap but went a different way (and I did not really understand the way it went).

I thought all of these stories had great ideas and a lot of potential, but only the first succeeded. Maybe this is an audiobook issue?… (meer)

Michael Helm’s fearless, spellbinding, challenging, overlong, meandering, uncompromising, fascinating, often perplexing novel After James tells three separate, but appropriately conjoined, tales of people who are searching for answers to questions that have to do with identity, observation, perspective, scientific curiosity and the nature of artistic creation. In the first section, “Alice after James,” Alice is a neuroscientist who has designed and developed a creativity drug which has reached the clinical trial stage. However, one of the trial participants has killed himself after being taken off the drug, and Alice plans to blow the whistle on the pharmaceutical company, which has refused to end the trial. To protect herself, she has retreated to a secluded cabin in the woods and here, after sampling the drug, she confronts a crisis in the form of a twilight of the mind as the border separating fantasy and reality begins to break down. Part two, “Decor,” tells the story of a failed writer named James who is hired by August Durant, a mysterious American academic living in Rome, to identify the curator of an internet site where someone is publishing poems that seem, both obliquely and more directly, to make reference to circumstances in Durant’s life. James himself is trying to solve the mystery of his parents’ deaths: two years earlier they were working with refugees in Turkey when they were found in their car by the side of the road, both dead from trauma. The police called it an accident; James has his doubts. James regards Durant as deluded and fanatical about the website, but as he studies the internet poems, he detects references to his own situation, and his curiosity likewise turns into obsession. In the final section, “The Boy in the Water,” Celia, a virologist who studies ancient plagues, has never had a straightforward relationship with her father, a paleontologist, who has always been obsessed with work. Meeting up with her father for the first time in a while, she discovers he is undergoing a spiritual awakening under the tutelage of a mysterious German artist named Koss, who, from Celia’s perspective, wields an unsettling degree of influence over him, and she subsequently grows suspicious that her father is being exploited. When Koss and her father disappear, Celia travels to Berlin to attend an exhibit of Koss’s new work, thinking she will find them both there, but discovers instead that Koss has appropriated her image and her life in his work. Helm’s dazzlingly complex tripartite novel resists easy summary. All of his main characters confront aspects of themselves in the conundrums they face, each of them tends toward compulsive behaviour. All of Helm’s characters are profoundly intellectual, creative, eccentric, professional thinkers, immersed in the life of the mind. Not only do these people think deep thoughts and pursue ideas the way others pursue collectables or objects of beauty, they are curious about what thinking means and question and discuss the nature of human intelligence, the links between the body and the spirit. In After James Michael Helm has written a unique work of fiction, one that stimulates and confounds in equal measure but tempts the reader to go back to the beginning as soon as he finishes it. To this add the exquisite language, an abundance of startling, ingenious metaphors, stunning visual descriptions and the author’s astounding erudition. An astonishing and deeply rewarding reading experience.… (meer)

This novel is more like three inter-connected stories than a single narrative. We have Alice, who has isolated herself in rural Canada while trying to decide if she will blow the whistle on her employer. The company has designed a creativity drug which has a suicide as an undisclosed side-effect. In the second, a young man his hired by Alice's father to determine who is behind a poetry site where the author's poems seem to reflect Alice's father's own life. Finally, we have the story of a virologist (who another reviewer says is Alice's sister...but I missed that!) whose life story (and Alice's) have been appropriated by a conceptual artist.

The three threads are interesting and all speak to reality vs perception. But things were a little to obscure for me at times and I'm sure I missed more than Celia's relationship to Alice. As someone said, this book might be richer if read a second time, but I wasn't interested enough in most of the characters to subject myself to that!… (meer)