Wildly imaginative, humorous, and structurally complex, Venomous Lumpsucker by Ned Beauman takes place a few decades from now as the worst disasters of climate change have already begun. Thousands of life forms have become extinct, and in order to live and work, society has needed new economies, complete with “extinction credits,” overseen by corporations. Countries have changed or canceled borders. In what used to be Europe, scientists have set up new economies on floating islands, with free market research centers and biobanks to preserve life, both human and animal, even when that life exists only on the cellular level. With an overlay of dark humor and irony throughout, author Ned Beauman presents two young people involved in animal research and the international effects of their discoveries. His overall mood, however, is one of sadness, presented with such realism that the story line requires two epilogues to resolve.
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In her latest study of an animal species, Audrey Schulman focuses on dolphins, their intelligence, their verbalization, their relationships with humans and each other, and the possibility that they may be able to initiate communication with humans if they and the humans can evolve a common language. Set in St. Thomas, and based on research done in the mid-1960s (and continuing to the present), her main character, Cora, lives with the dolphins and eventually focuses on a particular one, with whom she shares a “homearium,” living in the dry section of the building, while “Junior” lives in the sea section, which overlaps with it. Fascinating work involving animal behavior and speech.
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In the alternative universe of Christine Coulson’s collection of stories from the Metropolitan Museum in New York, inanimate paintings and sculptures can think, feel, and speak. These “speakers,” their conflicts, and their points of view vary widely – and surprisingly – from a robust man who speaks as the invisible charcoal underdrawing on a 1545 canvas by Venetian painter Tintoretto, to an insightful chair which describes its memories of a sobbing of little eight-year-old in the Ducal Palace of Parma in 1749. Paintings and sculptures from all time periods reveal their own thoughts as they vie to be chosen the Perfect Muse, the lucky winner of which will accompany Michel Larousse, the Director of the Museum, to an important meeting. A variety of human characters reveal their jobs and their special commitments to the Met and their favorite artworks. The scale and scope are limited only by the museum’s artwork itself, and its settings include all the galleries, many of which are created to resemble the original settings of the work displayed in them.
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The Game of the Gods, by Paolo Maurensig, just released, focuses primarily on the people who play chess, their feelings about playing, and what the game means to them, not on the specifics of the game itself. As the story of a former, almost forgotten chess champion from India develops, it weaves such a spell about chess and those who play it that even those, like me, who are not chess fanatics, can become totally absorbed in the story of Sultan Khan. His early life as a low-caste Indian, his experiences as he masters the game and begins to play on the international level, and the effects of the game on his personal life make him seem so “human” that the author is also able to elevate the narrative beyond the personal to include the history of the game, its mysteries, and the philosophies which give it religious status for many players. Its likable characters of varying cultures and different outlooks add breadth to the characterizations, themes, and visions of life. Though the novel would have benefited from a tighter plot with fewer locations, few novels these days have as much élan as this one does. I recommend it highly to those looking for some fresh insights into new worlds at a time in which many are desperately searching for a change of pace.
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In a remote, almost unpopulated area adjacent to Argentina’s pampas, China Iron, the main character and speaker in this small epic, grew up believing that she was “born an orphan,” never having known her mother. Brought up as a virtual slave by a woman known as Las Negra, she was then married off to Martín Fierro, a gaucho-singer who won her in a card game and by whom she had two sons before reaching the age of fourteen. Now, in 1872, her husband has been conscripted by the army, along with all the other young men of the outpost, and China has decided to take off, not in search of her sometimes violent husband, but in search of a life. Leaving her babies with an elderly couple, she joins with Liz, a red-haired Scottish woman whose husband Oscar was conscripted before he could take possession of land he had planned to purchase and develop. Liz, with an oxcart, supplies, and clothing from her previous life abroad, is about to set off across the pampas in her cart to find and rescue Oscar, and she is happy to have some company. The trip becomes a mini-epic (with a twist) based on the Martín Fierro work from 1872, as China, Liz, and the cowherd Rosario head for new worlds beyond the pampas. Brilliant descriptions, lively characters, and a picture of Argentina in the 1800s that few will forget. On the Favorites List.
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