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The Facts Behind the Helsinki Roccamatios by Yann Martel
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(Hardcover - Bargain)
- Pub. Date: December 2004
- 208pp
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Product Details
- Pub. Date: December 2004
- Publisher: Houghton Mifflin Harcourt
- Format: Hardcover, 208pp
- ISBN-13: 9780641681226
- ISBN: 0641681224
- Edition Description: Bargain
Synopsis
Here are four unforgettable stories by the author of Life of Pi. In the exquisite title novella, a very young man dying of AIDS joins his friend in fashioning a story of the Roccamatio family of Helsinki, set against the yearly march of the twentieth century whose horrors and miracles their story echoes. In "The Time I Heard the Private Donald J. Rankin String Concerto with One Discordant Violin, by the American composer John Morton," a Canadian university student visits Washington, D.C., and experiences the Vietnam War and its aftermath through an intense musical encounter. In "Manners of Dying," variations of a warden's letter to the mother of a son he has just executed reveal how each life is contained in its end. The final story, "The Challenges of Science," chronicles how when fantasy and reality meet, even one of the great minds of science is confounded.
Written earlier in Martel's career, these tales are as moving as they are thought-provoking, as inventive in form as they are timeless in content. They display that startling mix of dazzle and depth that have made Yann Martel an international phenomenon.
The Washington Post - Steven Moore
It's the perfect gift for the person who would appreciate the literary equivalent of tickets to the Cirque du Soleil.
Each of these stories is a performance, a high-wire act in which the author sets himself an unusual challenge and dazzles us as he pulls it off.
More Reviews and RecommendationsBiography
In 2002, Yann Martel broke into the literary world in a big way with his whimsical, strange, and thoroughly original second novel, Life of Pi. Although several years have since passed, this bestselling work has yet to loosen its magical grip on the world.
More About the AuthorFact File
Name:
Yann Martel
Current Home:
Montreal, Quebec, Canada
Date of Birth:
June 25, 1963
Place of Birth:
Salamanca, Spain
Education:
B.A. in philosophy, Trent University, Ontario, 1986
Awards:
2002 winner of the Booker Prize, for Life of Pi; 2001 Hugh MacLennan Prize for fiction, Quebec Writers’ Federation; 1993 Gold Medal for Fiction, National Magazine Awards
Biography
Sometime in the early 1990s, Yann Martel stumbled across a critique in The New York Times Review of Books by John Updike that captured his curiosity. Although Updike's response to Moacyr Scliar's Max and the Cats was fairly icy and indifferent, the premise immediately intrigued Martel. According to Martel, Max and the Cats was, "as far as I can remember... about a zoo in Berlin run by a Jewish family. The year is 1933 and, not surprisingly, business is bad. The family decides to emigrate to Brazil. Alas, the ship sinks and one lone Jew ends up in a lifeboat with a black panther." Whether or not the story was as uninspiring as Updike had indicated in his review, Martel was both fascinated by this premise and frustrated that he had not come up with it himself.
Ironically, Martel's account of the plot of Max and the Cats wasn't completely accurate. In fact, in Scliar's novel, Max Schmidt did not belong to a family of zookeepers -- he was the son of furrier. Furthermore, he did not emigrate from Berlin to Brazil with his family as the result of a failing zoo, but was forced to flee Hamburg after his lover's husband sells him out to the Nazi secret police. So, this plot that so enthralled Martel -- which he did not pursue for several years because he assumed Moacyr Scliar had already tackled it -- was more his own than he had thought.
Meanwhile, Martel managed to write and publish two books: a collection of short stories titled The Facts Behind the Helsinki Roccamatios in 1993 and a novel about gender confusion called Self in 1996. Both books sold only moderately well, further frustrating the writer. In an effort to collect his thoughts and refresh his creativity, he took a trip to India, first spending time in bustling Bombay. However, the overcrowded city only furthered Martel's feelings of alienation and dissolution. He then decided to move on to Matheran, a section near Bombay but without that city's dense population. In this peaceful hill station overlooking the city, Martel began revisiting an idea he had not considered in some time, the premise he had unwittingly created when reading Updike's review in The New York Times Review of Books. He developed the idea even further away from Max and the Cats. While Scliar's novel was an extended holocaust allegory, Martel envisioned his story as a witty, whimsical, and mysterious meditation on zoology and theology. Unlike Max Schmidt, Pi Patel would, indeed, be the son of a zookeeper. Martel would, however, retain the shipwrecked-with-beasts theme from Max and the Cats. During an ocean exodus from India to Canada, the ship sinks and Pi finds himself stranded on a lifeboat with such unlikely shipmates as a zebra, a hyena, and a Bengal tiger named Richard Parker.
The resulting novel, Life of Pi, became the smash-hit for which Martel had been longing. Selling well over a million copies and receiving the accolades of Book Magazine, Publisher's Weekly, Library Journal, and, yes, The New York Times Review of Books, Life of Pi has been published in over 40 countries and territories, in over 30 languages. It is currently in production by Fox Studios with a script by master-of-whimsy Jean-Pierre Jeunet (City of Lost Children; Amélie) and directorial duties to be handled by Alfonso Cuarón (Y tu mamá también; Harry Potter and the Prisoner of Azkaban).
Martel is now working on his third novel, a bizarrely allegorical adventure about a donkey and a monkey that travel through a fantastical world... on a shirt. Well, at least no one will ever accuse him of borrowing that premise from any other writer.
Good to Know
Life of Pi is not Yann Martel's first work to be adapted for the screen. His short story "Manners of Dying" was made into a motion picture by fellow Canadian resident Jeremy Peter Allen in 2004.
When he isn't penning modern masterpieces, Martel spends much of his time volunteering in a palliative care unit.
Feature Interview
In 2002, Yann Martel took time to answer some of our questions. What was the book that most influenced your life?
I would say Le Petit Chose, by the French writer Alphonse Daudet. It was the first book to make me cry. I was around ten years old. It made me see how powerful words could be, how much we could see and feel through mere black jottings on a page.
What are your ten favorite books, and what makes them special to you?
In no particular order, off the top of my head:
- The Divine Comedy, by Dante. Simply an amazing book. As complex and detailed as a Gothic cathedral, yet as simple and emotionally direct as a little girl's kiss on your cheek. If there's one book that captures an entire age and people and mentality -- that of Italy in the year 1300 -- it is the Divine Comedy.
- The short stories of Franz Kafka. Weird and revealing, like holding up a mirror to the darker parts of ourselves.
- Hunger, by the Norwegian Knut Hamsun. The odyssey of a man wandering the streets of Oslo, lost and starving. My first taste of the appeal of alienation.
- The Sailor Who Fell From Grace With The Sea, by the Japanese Yukio Mishima. A simple perfect story, with the scary inevitability of a guillotine coming down.
- The Old Man and the Sea (and also the short stories), by the much maligned Hemingway. For the style, that simple, lucid style that says so much with so little.
- Dead Souls, by Gogol. Funny, strange, outrageous.
- The Death of Ivan Illyich, (or anything else) by Tolstoy. Fearless writing: utterly modern, incredibly wise, technically flawless. A true genius, that Count Leo.
- One Hundred Years of Solitude, by Gabriel García Márquez. As magic as life, if only we would let ourselves dream....
- Most anything by Willa Cather. An unfairly neglected writer.
- My own next book. Don't mean to be pretentious here, or to rate my modest talents higher than they are. Nonetheless, it's the truth. My next book -- each one while I'm working on it -- dances in my mind and thrills me at every turn. If it didn't, why would I write it?
- The Idiots, directed by Lars von Trier
- Dark Eyes, by Nikita Mikhalkov
- Korzak, by Andrzej Wajda
- Rien sur Robert, by Pascal Bonitzer
- The Tin Drum, by Volker Schlondorf
- The Deerhunter, by Michael Cimino
- Lady and the Tramp and The Aristocats, by Walt Disney
- The Pink Panther movies
- Science fiction movies
Music moves me -- duh -- and that is like having a window opening on a heightened reality, but the effect is fleeting: When the music ends, the magic, the uplifting, vanishes and the window slams shut. Words, on the other hand, by the nature of how they work, emotions evoked by dint of carefully laid out thoughts, have a more lingering effect. So I'd say that nothing has moved me more than music, but it carries the taint of escapism and I rate it lower than dry words. That said, I love the usual suspects, from Bach to Brel.
If you had a book club, what would it be reading?
A fat classic I've never been able to read on my own, like The Magic Mountain or À la Recherche du Temps Perdu. They're long, detailed, complex novels, the equivalent of visiting a big, old European city -- so why not have company for the visit? I figure there would be much to discuss reading these books.
Another great book to do would be Dante's Divine Comedy. Hell, Purgatory and Heaven, a thousand characters and their thousand punishments or rewards, a travelogue like you've never imagined, Renaissance Italy, love, hate, etc., etc., etc. -- what more could you ask of a book?
Books are something social -- a writer speaking to a reader -- so I think making the reading of a book the centre of a social event, the meeting of a book club, is a brilliant idea. May books spread the world over!
Who are your favorite writers, and what makes their writing special?
I've partly answered this in the question about my favourite books, but I'd add Joseph Conrad, Thomas Hardy, a handful of First World War poets, Sinclair Lewis, and others that I forget at the moment. As you can tell, I'm hopelessly out of step with my time.
From the Publisher
Here are four unforgettable stories by the author of Life of Pi. In the exquisite title novella, a very young man dying of AIDS joins his friend in fashioning a story of the Roccamatio family of Helsinki, set against the yearly march of the twentieth century whose horrors and miracles their story echoes. In "The Time I Heard the Private Donald J. Rankin String Concerto with One Discordant Violin, by the American composer John Morton," a Canadian university student visits Washington, D.C., and experiences the Vietnam War and its aftermath through an intense musical encounter. In "Manners of Dying," variations of a warden's letter to the mother of a son he has just executed reveal how each life is contained in its end. The final story, "The Challenges of Science," chronicles how when fantasy and reality meet, even one of the great minds of science is confounded.
Written earlier in Martel's career, these tales are as moving as they are thought-provoking, as inventive in form as they are timeless in content. They display that startling mix of dazzle and depth that have made Yann Martel an international phenomenon.
The Washington Post - Steven Moore
It's the perfect gift for the person who would appreciate the literary equivalent of tickets to the Cirque du Soleil.
Each of these stories is a performance, a high-wire act in which the author sets himself an unusual challenge and dazzles us as he pulls it off.
The New York Times - Janet Maslin
So this novella becomes an odd hybrid: part history, part Roccamatio fiction, part poignantly evoked medical crisis. ("When you're with people who are really sick," the narrator observes, "you discover what an illusion science can be.") And here, at least, Mr. Martel achieves a graceful balance. The seeds of Life of Pi can be found in the engaging narrative voice, in its curious digressions, in its mixture of unexpected playfulness with the gravity of imminent death. Will 1938 be remembered for the Nazi pogroms of Kristallnacht, or for the invention of the ballpoint pen? The Facts Behind the Helsinki Roccamatios invents an odd, wishful universe that gives these two options equivalent moral weight.
Publishers Weekly
Pathos is leavened with inventiveness and humor in this collection of a novella and three short stories first published in a slightly different version in Canada in 1993, nearly 10 years before Martel's Booker-winning Life of Pi. The minor key is established in the title novella, a graceful, multilayered story of a young man dying of AIDS, told through the refracting lens of the history of the 20th century. Infected by a blood transfusion, Paul receives the diagnosis during his freshman year of college. The narrator, Paul's student mentor, devises a plan to keep Paul engaged in life-they will invent the story of the Roccamatio family of Helsinki, which will have 100 chapters, each thematically linked to an event of the 20th century. The connection between the history, the stories and Paul's condition is subtle and always shifting, as fluid and elusive as life itself. The experience of death is delicately probed in the next two stories as well: in one, a Canadian student's life is changed when he hears the Rankin Concerto, written in honor of a Vietnam veteran; in the other, a prison warden reports to a mother on her son's last moments before he is executed. The book closes with a surreal fable in which mirrors are made from memories. These are exemplary works of apprenticeship, slight yet richly satisfying. Agent, Jackie Kaiser. (Dec.) Copyright 2004 Reed Business Information.
Library Journal
Having delivered a nail-biting narrative with Life of Pi, Martel chooses not to repeat himself, here offering four meditative stories that test the limits of the form. In the longest, the narrator and a friend slowly perishing of AIDS swap stories, centered on the imaginary Roccamatios of Helsinki, that reflect events of the 20th century. We don't get their stories, however, just the events that inspire them, which creates an appropriate sense of being shut out (just as the narrator can't really enter his friend's pain), though it can be a little distancing. In "Manners of Dying," variations of the same letter written by a prison warden to a woman whose son has just been executed reveal the horror of capital punishment. In the especially intriguing "The Vita Aeterna Mirror Company," an old woman reiterates memories (in a narrow column) to her newly alert grandson (whose thoughts fill the page). Startlingly, she even shows him a machine that makes mirrors out of memories. Elusive and thought-provoking, though sure to confound anyone who reads for plot, this collection is recommended for public and academic libraries. [See Prepub Alert, LJ 8/04.]-Barbara Hoffert, Library Journal Copyright 2004 Reed Business Information.
Kirkus Reviews
This mixed-bag of three stories and a novella first appeared in 1993, nine years before its Canadian author's Booker Prize winner, Life of Pi. The stories are comparatively weak. "Manners of Dying" contains alternative versions of the letter a prison warden must send to the mother of a young convict over whose execution he presides. A few of the several scenarios (describing the prisoner's reaction to his imminent death) are harshly moving, but the story as a whole is distinctly gimmicky. In another, an unnamed narrator re-creates "The Time I Heard the Private Donald J. Rankin String Concerto with One Discordant Violin, by the American Composer John Morton." The chamber piece so identified memorializes the Vietnam War with awkward intensity, in "a mix of perfect beauty and cathartic error." Martel's development of the premise is disappointingly banal. "The Via Aeterna Mirror Company: Mirrors to Last till Kingdom Come" describes, in a mixture of prose and verse, its narrator's slow comprehension of his grandmother's long widowhood and stoical old age, the facts of which are "stored" in a marvelous machine that "runs on" her memories. It's a thin fantasy, filled with redundant padding, that reads like an abandoned Ray Bradbury effort. Then there's the title novella, set in 1986, about a college student's slow dying from AIDS (contracted during an emergency blood transfusion), as described by the friend who endures the ordeal with him, ceaselessly visiting and offering support, concocting an ongoing story about an imaginary Finnish family: "a story in eighty-six episodes, each echoing one event from one year of the unfolding century." As his friend's "contributions" remain hopeful andencouraging, the patient's own tales grow increasingly despairing and apocalyptic: the surrounding story's progression is precise, impressively imagined, and immensely moving. Overall, a disappointment. "The Facts," though, represents the best reason we've been given yet to keep reading Martel. Agency: Westwood Creative Artists
Product Details
- Pub. Date: December 2004
- Publisher: Houghton Mifflin Harcourt
- Format: Hardcover, 208pp
- ISBN-13: 9780641681226
- ISBN: 0641681224
- Edition Description: Bargain
Table of Contents
| The facts behind the Helsinki Roccamatios | 1 | |
| The time I heard the private Donald J. Rankin string concerto with one discordant violin, by the American composer John Morton | 83 | |
| Manners of dying | 131 | |
| The Vita AEterna Mirror Company : mirrors to last till kingdom come | 167 |
Read a Sample Chapter
I hadn't known Paul for very long. We had met at Trent University in Peterborough in the fall of 1987. I had worked and travelled around and I was older than him, twenty-four and in fourth year. He had just turned nineteen and was entering first year. At the beginning of the year at Trent, some senior students introduce the first-years to the university. There are no pranks or anything like that; the seniors are there to be helpful. They're called "amigas" and the first-years "amigees", which shows you how much Spanish they speak in Peterborough. I was an amiga and most of my amigees struck me as good-humoured, eager children. But Paul had a laid-back, intelligent curiosity and a skeptical turn of mind that I liked. And it happened that because of our parents' jobs we had both lived in Mexico City for a few years when we were kids. The two of us clicked and we became good friends. We did things together and talked all the time. Because I was older and I had seen more things, I would usually fall into the role of the wise old guru and Paul into that of the young disciple. But then he would say something that threw my pompousness right into my face and we would laugh and break from these roles.Then, hardly into second term, Paul fell ill. Already at Christmas he had a fever, and ever since then he had been carrying this cough around. If he moved suddenly, if he sat down or got up too quickly, for example, he would erupt into a dry, hacking cough. Initially, he, we, thought nothing of it. The cold, the dryness of the air -- it was something to do with that.
But slowly things got worse. Now I recall signs that I didn't think twice about at the time. He complained once ofdiarrhea. he seemed less energetic. One day we were climbing the stairs to the library, hardly twenty-five steps, and when we reached the top, we stopped. I remember realizing that the only reason we had stopped was because Paul wanted to rest. He was out of breath. And he was never finishing his meals, either, and seemed to be losing weight. It was hard to tell, what with the heavy winter sweaters and all, but I'm certain that his frame had been stockier. Finally, when he was getting winded at the smallest effort, it became clear that something was wrong. We talked about it -- nearly casually, you must understand -- and I played doctor, and said, "Hum. Out of breath, cough, weight loss, tiredness -- Paul, you have pneumonia." I was joking, of course. Ironically, that's in fact what he had. It's called Pneumoncystis carinii pneumonia, PCP to intimates. Late in February, Paul left for Toronto to see his family doctor.
Eight months later he was dead.
AIDS. He said it to me over the phone in this strange, removed voice. He had been gone for a week. He had just got back from the hospital, he told me. I reeled. AIDS. AIDS! My first thoughts were for myself. Had I ever drunk out of his glass? Used his soap? Come into contact with his blood? I tried to remember if he had ever cut himself in my presence. Or scratched me accidentally. Then I thought of him. I thought of sex, of homosexuality. But Paul wasn't gay. I mean, he had never told me so outright, but I knew him well enough and I had never detected the least ambivalence. That wasn't it, anyway. Four years ago, when he was fifteen, he had gone to Jamaica on holiday with his parents. They had had a car accident and Paul had been gashed in the left thigh. He had lost a quantity of blood and had received a transfusion at the local hospital. Six witnesses of the accident had come along to volunteer blood. Three were of the right blood group. Several phone calls and a little research turned up the fact that one of the three had died two years later of toxoplasmic cerebral lesions while being treated for pneumonia, a suspicious combination.
I went to visit Paul that weekend at his home in Rosedale. I didn't want to -- it was he who asked; I wanted to block the whole thing off; I asked, this was my excuse, if he was sure his parents cared for a visitor -- but he insisted that I come. And I did, I came through. And I was right. Because what hurt most that first weekend was not Paul, but Paul's family.
After learning how he had probably caught the virus, Paul's father didn't utter a syllable for three days. Then, early one morning, he fetched the tool kit in the basement, stepped out to the driveway and destroyed the family car. Because he had been the driver when they had had the accident; even though it hadn't been his fault and it had been in another car, a rented car. He took a hammer and shattered all the windows and lights and then he scrapped and trashed the body and then he banged nails into the tires. Then he siphoned the gasoline from the tank, poured it over and inside the car and set it on fire. The neighbours called the police and the fire department and they rushed to the scene, but when he blurted out why he was doing it, they were very understanding and put the fire out and left without charging him or anything, only asking if he wanted to go to the hospital, which he didn't. So that was the first thing I saw when I walked up to Paul's house -- a burnt wreck of a Mercedes covered in dried-out foam.
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