So my Christmas present from my sister arrived the other day, and as soon as it arrived I ripped the package open and there they were, the two Mark Helprin novels that I had yet to read.It was pretty late that night already and it was going to be a busy week, but I had duty on Friday so I decided that I would wait till then, and then during the 12 hours that I would have been twiddling my thumbs on post, I would devote to reading, first, Refiner’s Fire, and then Memoir from Antproof Case.
So friday rolls around, I wake up, put my cammies on, grab my book and head down to the duty desk. I sit down, mentally prep myself for duty, (I have to remind myself where it is I am answering the phone from, before I sit down to do anything else, otherwise my autopilot will just use whatever the last stored entry was) and then open Refiner’s Fire. I can’t presume to speak for anyone else, but personally, when I open a book, there’s no fanfare, nothing special, no moment where I crack my mental knuckles and think, reading, yes, lets get this done. No, I just open the book, turn to the appropriate page, and begin. Maybe everyone launches into reading the same way, but hey, I haven’t really asked around.
Refiners Fire opens much like Helprin’s, in my opinion, greatest novel, A Soldier of the Great War. Description of a scene, his prose a vivid paintbrush bringing alive colours, spreading a broad, sweeping vista before you. It matters not that he is describing the interior of a helicopter, or the narrow, twisting streets of Rome, or an oppressive jungle. When Helprin writes everything becomes open, illuminated by his words. Ok, maybe describing a scene isn’t such an original way to open a novel, you think to yourself, you’re not going to have very much success as a writer if you don’t describe things, I’m not really sure how you’d write at all really. You could put down random disjointed thoughts, describing nothing, simply stating random unconnected facts. Unfortunately in todays economic climate there’s not much demand for tech writers (I’m unsure of that joke, are tech writer’s really fodder for comedy? Is that even a description of tech writer’s work?). Regardless any novelist worth his salt must open with a description, upon that we are agreed. But Helprin isn’t just painting you a landscape, he’s populating it with a character, one who may not have much time left and is going to use that time to reminisce about the life he has led. I use reminisce for lack of a something better, it is more a reliving, a re experiencing of every moment lived.
Both Soldier and Refiner’s open similarly, a dieing, or at least near death, man begins to relive his life, and when I realized this, I began to think that maybe, for all that I loved his language, his vivid descriptions of all he writes on, Mark Helprin was a one trick pony, selling us the same story in a different skin, new descriptions, old plotline. After all, most of his books focus on a strong, independent, male protagonist, one who, over the course of the book will invariably come into contact with, and love multiple women, always themselves beautiful and unconventional, in that while strong, intelligent and independent they completely lack any resemblance to that whining image of the modern feminist. All his protagonists will have wide and varied experiences, conquering the wild, capturing cities (not to capture as in take, as in siege, but capture as in become wholly comfortable with, to feel in the city as if it is your natural hunting ground), climbing mountains and flying aircraft. His characters will interact with each other in the most whimsical fashion possible, absurd comedy springing from the most mudane places, comedy springing not from the central characters, but from their interactions with an assortment of insane bit players, who crash through the pages of the novel like a bear with a hat several sizes to small making his through a small child’s birthday party. And then there’s the supernatural, not present as some sort of deus ex machina, some solution to an otherwise impossible problem, but simply present. Not that it never plays a part in the story, the supernatural is the driving element of A City in Winter after all, but present in that he writes of the supernatural as if it is the natural, not mundane, never mundane, but expected. The supernatural is not beyond the scope of his character’s imaginations, they understand not all is meant to be understood.
And all his writing has these elements. And for one moment, just one mind you, disappointment swelled within, the writer over all others was simply a one trick pony. And then just as quickly as it came, it was gone, and to abuse an already overused saying, the scales fell from my eyes. The reason his writing is so easily distinguishable, so unique and distinct, and containing so many similar elements, is because he writes of us, not as we are, but as we should be. Just as the landscape he describes is never drab and boring, even gray factory’s being brought to life, not in a sea of pastels and hum-drum, but in a blaze of colour and magnificence, the gray rectangles becoming brilliant and beautiful; just as his landscape is all of it lifted beyond, enlightened, so are his characters. His heroes are just that, noble, dedicated, even as they fall you wish you could be them, for they in their worst are greater than you in your best. His love interests are not token characters who fall by the wayside, they are magnificent women, who the least of, you would sacrifice your leg to meet. And his heroine’s, never until Refiner’s Fire had I finished a novel and known without a doubt that if she existed, I would do everything in my power to marry Lydia Pearl, any women who is both beautiful and capable of positing that the defeat of the Mongols at Ain-Jalut was inevitable is a jewel beyond price. But more than anything it is in his Hero’s quest that he cements himself in his position above all. For his Hero’s are not trying to conquer a nation, or win their love, or deliver a message although they will almost definitely do all of the above. For his hero’s simply live, and do so magnificently.