The Selected Works of T.S.Spivet: A novel

by Reif Larsen. 2009

Reviewed by Ann Skea (ann@skea.com).

T.S.Spivet is a twelve-year-old genius maker of maps, plans and illustrations. "I think". he tells a CNN interviewer, "we are born with a map of the entire world in our heads...the patterns are already there and I see the map in my head and then just draw it". This is a simplified version of what he tells the scientists at the Smithsonian, but they are cleverer than a CNN man trying to entertain an audience. T.S., however, is still just a child and his Selected Works are a wonderful grab-bag collection of his notes, drawings, maps and stories, as well as a vivid, funny and sometimes terrifying tale of how he came to be at the Smithsonian that night and the adventures he had getting there.T.S. (the initials stand for 'Tecumseh Sparrow', and how he came by them is a story in itself) lives with his family on a ranch in Montana. He can recite the latitude and longitude of his address to the nearest second, but he is not so certain about the thoughts and feelings of his family. His sister, Gracie, is sixteen and T.S. regards her as "the most together member of the family". She is smart, sassy, and, when the family exasperates her, is inclined to a behaviour which T.S. has labelled 'Dork Retreat': i.e. she will plug in her earphones and/or retreat to her room with her music. If T.S. is the cause, he knows he can mollify her with 500 grams of chewy tape. T.S's mother, Dr Clare, is, so he says, "a misguided coleopterist" who has spent her entire adult life studying and classifying beetles. She can't cook, is a champion blower-up of toasters, and she is "the kind of mother who would teach you the periodic table while feeding your porridge as an infant". T.S. feels close to his mother and shares some of her interests but doesn't understand her continuing obsession with finding a particular species of moth. He is much less close to his father, who is a taciturn farmer: "the sort of man who will walk into a room and say something like 'you can't bullshit a cricket', and then just leave". No longer part of the family, but still very much a part of T.S's notebooks, is Layton, his younger brother who has only recently died in a shooting accident which none of the family will talk about and which T.S. fears may have been his fault.T.S. makes sense of his life by charting it in diagrams, maps and plans which he keeps in the colour-coded notebooks lining the walls of his room The extent of his curiosity and the huge variety of his work is apparent in the Selected Works, where panels alongside the text show (in a random selection) detailed botanical drawings; plans for corn-shucking; stages of male pattern baldness; "My first Inertia Experiment...a disaster"; his brother's rocking horse; a map of the locations of the 26 McDonalds restaurants in North Dakota and much, much more. Some of this work has been sent by a family friend to the Smithsonian, Scientific American, Science, Discovery and Sport Illustrated for Kids, and some (in particular, his meticulous illustration of how the Bombardier Beetle mixes and expels boiling secretions from its abdomen) has been published.

T.S's Smithsonian adventure begins with a phone call from an official who tells him that he has won the prestigious Baird Award for the popular advancement of science. Unaware of T.S's age, he invites him to attend the Smithsonian's hundred-and-fiftieth anniversary celebration dinner in Washington in order to accept the award and to give a keynote address. T.S. initially declines the invitation, but after a really scary day failing to help his father free 'Old Stinky', the bad-tempered goat, from some barbed wire on the farm and almost being bitten by a rattlesnake into the bargain, he changes his mind. To get to Washington, however, without talking to the Smithsonian official again and disclosing his age, is a problem. T.S. decides to make it a true adventure and, like Hanky the Hobo of a story he once heard, he decides to jump a freight train.

A large part of the Selected Works tells of T.S's adventures, some of which are terrifying. Interspersed with these, however, are extracts from a notebook which he stole from his mother's study as he was leaving. These tell the story of Emma Osterville, who married Tecumseh Tearho Spivet, T.S's great, great, grandfather. Emma's life and her struggles to be accepted as a geologist in the conservative, male-dominated scientific world of America in the 1800s, make fascinating reading. Nevertheless, I was so taken up with T.S's adventures that I began to skip over them to find out what happened to T.S. and then came back to them later.


Whichever way you read this book, it is a wonderfully imaginative work of art and literature. Reif Larson captures the spirit of a twelve-year-old boy, but also manages to tell a story, or stories, which will appeal to a many age-groups. Many of T.S's observations are very acute and very funny, although only an adult might see the humour of some of them. Larson's publishers, too, have done him proud. The book itself is innovative and inventive and a delight. Even T.S's thanks page and Reif Larson's own acknowledgements are worth reading, and I particularly liked T.S's additions to the publisher's information page at the front of the book - a page which only publishers, booksellers, librarians and reviewers would normally read. Added to the CIP Catalogue information is a note: "This book is about"- and a list of 27 entries, which includes "7. WHISKEY DRINKING - FICTION", " 12. HOBO SIGNS - FICTION", "16. HONEY NUT CHEERIOS - FICTION", and even an entry for "MIDWESTERN WORMHOLES", which is also Fiction. That should make shelving the book in any particular section of a bookshop difficult! This is a truly inspired, inspiring, imaginative and novel novel, and you can see more about it at http://www.tsspivet.com/.

How to paint a dead man

by Sarah Hall, 2009

Reviewed by Ann Skea (ann@skea.com)

The curious title of this book gives no clues to its contents other than to suggest that art is the link which binds this book together. Even the quotation from Cennino d'Andrea Cennini, from which the title is taken and which is included at the end of this book, only confirms that subtlety, colour, light and shadow are a necessary part of the way in which Sarah Hall paints her characters.Signor Giorgio is an Italian artist famous for his obsessive depictions of a small group of bottles. Dying of cancer in a small town in Umbria, he looks back on his life and work, meditates on the meaning of art, remembers a past troubled by war and loss, and has daily battles with Theresa, his housekeeper, to maintain his smoking habit. One of his fond memories is of a young English artist, Peter, who once wrote him stimulating letters about art but who never included his address, so could not be answered. Thirty years later, Peter Caldicutt, successful, middle-aged and described by his daughter as "one of his generation's formidable eccentrics", still struggles with the demands of art, both philosophically and literally. Trudging the rugged Cumbrian landscape which is his inspiration, he slips and becomes trapped. So begins his own musing on life, death and art, as he also contemplates the irony of being so unpredictable and unreliable that no-one will immediately miss him or know where he is and he may well die of exposure.

A little later again, Sue, Peter's daughter, is also an artist. Her own field is photography but she is currently curator of an exhibition of objects which have had close personal significance for famous artists. A bottle given to her for the exhibition by her father forms a link with Signor Giorgio. Sue is reeling from the sudden, accidental death of her twin brother. Her sense of self has been fragile since childhood, but now, again, she is distanced from everything around her. She talks of herself as 'you', struggles to feel present, and discovers that only in the dangerous and illicit affair with her close friend's husband can she feel alive and human. Sex, described in graphic detail by Sue, is voyeuristic and coldly un-erotic in spite of shared lust and passion, but only through this sex can she find relief from the numbing separation from reality which she feels.The fourth person whose life we enter in this book is a young Italian girl, Annette Tambroni, whose growing, congenital blindness has given her a special quality of imaginative vision which Signor Giorgio, who briefly met her whilst teaching art to local schoolchildren, describes as a gift for discovering invisible things. As readers, we experience Annette's world through that vision, and Sarah Hall's exceptional ability to convey the experiences and personality of each of her characters is at its best in Annette's story.

Annette is innocent and vulnerable. She vaguely remembers a painting in her church which depicts 'the Bestia' but cannot describe it exactly and in her imagination it comes to represent all the unspeakable things which her obsessively religious mother fears for her but will not discuss. The atmosphere of suppressed sexual tension, especially associated with the men in Annette's family, is palpable, but Sarah Hall also manages to create incredible beauty, even in the final horror that enters Annette's life.

Four different characters, four different stories, four different ways of telling the stories and a shifting pattern of time-frames throughout the book, all make this an ambitious novel which poses challenges for both the author and the reader. But Sarah Hall writes beautifully, intelligently and, at times, with simple poetic flair. The chapter titles, 'The Mirror Crisis', 'Translated from the Bottle Journals', 'The Fool on the Hill', and 'The Divine Vision of Annette Tambroni', repeat in that order throughout the book as each character's story develops; and inevitably, perhaps, some stories are more gripping than others. I must admit that Peter's dilemma caused me to skip chapters in order to discover whether he escaped and survived. But I did go back and finish the other chapters, and Signor Giorgio, Sue and Annette each held my attention in different ways.Structurally, and in some of its content, this is not an easy book to read but it is absorbing, interesting, innovative and a thought-provoking way of considering some of the many aspects of art.