Napoleon’s Roads by David Brooks, UQP, 2016.
Thirty years ago, I read a most wonderful collection of short fiction. I think I reviewed it. It was The Book of Sei by David Brooks. Since then, I have read most of David’s books. Reading Napoleon’s Roads was a bit like finding that, The Book of Sei had a glorious new compartment, to which I now had access.
On the last page of Napoleon’s Roads, the narrator says, that critics say the ‘writer’s’ books are “beautifully written, even haunting”, but that there is always some indefinable thing missing, an unspoken absence around which everything turns’. Note the ‘but’ in that sentence. It signifies that idea that those critics, are in some way, disappointed by, or afraid of, the ‘thing missing’. The stories of David Brooks can be read as turning on the mysterious thing, and many readers, myself included, celebrate the way the fiction is constructed around that thing. It’s death of course, un-named.
In the second, last story of the collection, ‘A Traveller’s Tale’, a narrator speaks directly to readers on the subject of how stories work. The tone is deliciously direct and instructive, and the story could be productively studied in fiction-writing courses. ‘I want you to think about that,’ says the narrator. The readers and the quiet voice are up close, as the narrator leads on to the moment when everyone must step out ‘into the wide world, the difficult terrain’ of the story which is ‘horrid, distressing, almost untellable’. Death, you see?
‘Is that what we came here for, to wander about in the shadowy streets of ourselves?’ These shadowy streets are the Dantesque internal and external pathways through which the fiction moves, the roads built by Napoleon’s men, the dreamscapes of the imagination, the ways to enter or to leave ‘the city’.
The first piece in the collection is one paragraph called, ‘Paths to Writing’. It signals the nature of what is to follow, invoking in poetic prose the hope that words can carry, and sometimes reveal, the deep information of the human heart. ‘A Traveller’s Tale’ contains a magnificent short discussion of the word ‘heart’. The heart is one of the ‘most durable organs of the body’ but the word is so often metaphoric; the centre of love, the heart that ‘in the human mind’ is ‘heart-shaped’. The narrator explains that, when the word is being used in the tale, the word ‘heart’ is an amalgam of the organ and the metaphor. So information, messages, move across the collection, holding the reader’s hand for the journey, sometimes letting go.
Threaded throughout is a signposting image of birds, those manifestations of the soul, harbingers of doom, messengers of hope. As I read, there seemed to be a lot of doves, but in fact when I counted, I found there were only four, plus one that was ‘almost dove’. That one stopped me in my tracks.
‘Lost Pages’ concerns a writer whose work constantly fragments and disappears. Here the storyteller has an idea of writing something ‘about The Language of Birds’, the medieval language of the troubadours. He doesn’t of course, but other characters in other stories see and hear birds, all kinds of birds. ‘Swan’ is a particularly elegant tale of longing, ending with the image of a man’s rumpled bed where in the morning, a ‘bird-like shape has formed itself’ among the sheets.
One of the most delicious (if I may, borrow the word from the restaurant review) stories is ‘Ten Short Pieces’. These tiny jewels flash across the reader’s mind like exquisite samplings of what might be said, or meant, or stated, or missed in the longer stories. The narrator-writer thinks of himself as ‘a man at a table in a workshop’, making a shoe, mending a watch, saying ‘over and over, what lines he has in the hope that one of these lines will run on, will spill over into something he has not yet imagined’. Now this is a description of how a writer works. Again, this little piece, consisting of only two sentences, is perfect for offering to students of writing. Not to mention, the pleasure of coming to the end of the long, second sentence, only to learn that the tools the writer finds in his cupboard might be ‘a piece of sheepsong or the end of a shower of rain, an owl.’ Note the last comma. Brilliant.
The word ‘sheepsong’ took me back to David’s 1990 collection titled, Sheep and the Diva – opening a doorway backwards into the apartment building of the work. Somehow, it does seem sometimes to be a vast building, or perhaps a city, through which the writer-narrator takes the reader by the hand. Dante again, I suppose. Sometimes, there is a burst through, into bright freedom ‘breaking through a veil of green words’, and sometimes (six times, actually) there is a dark image of a panther in a cage, pacing.
The story, ‘Napoleon’s Roads, begins with the panther, and the final story, ‘The Panther’, ends with the writer-narrator standing before a painting of a panther. Here, the collection ends:
‘I can see him there, in the shadows.
He does not look at me.’
I want to conclude by referring to the story, ‘Grief’, which is one, along with, ‘The Dead’, that is concerned, perhaps most openly, with mortality. This story ends with the effect of a man saying the Rosary at a funeral: ‘the fright and confusion become dignity, music moving through us in a kind of praise, making us instruments, wind, clay vessels, a kind of brooding bird, almost dove.’
Carmel Bird is the winner of the 2016 Patrick White Literary Award. Her most recent books are the novel, Family Skeleton (2016) and the short story collection, My Hearts Are Your Hearts (2015).