Explorers of the New Century
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- $13.99
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- $13.99
Publisher Description
The brilliant satirical novel by the Booker Prize-shortlisted author of The Restraint of Beasts
'To write one unique book is a rare achievement. The ability to produce several is truly special' Independent
'A demented, deadpan comic wonder' Thomas Pynchon
It is the beginning of the century, and two teams of explorers are racing across a cold, windswept, deserted land to reach the furthest point from civilisation.
It is, they find, 'an awfully long way'. Johns and his men take the western route, along a rocky scree, gossiping, bickering and grumbling as they go. Meanwhile, Tostig's men make their way along the dry riverbed in the east - they are fewer, with just five men and ten mules, and better organised than their rivals.
But with Johns' team keeping apace in the distance, the race is on to reach the Agreed Furthest Point ...
PUBLISHERS WEEKLY
In this acidly allegorical fancy, two unidentified nations at an unidentified time send coordinated expeditions into an uninhabited place of extreme weather "the Agreed Furthest Point from Civilization." After arrival at camp, and a minor mishap that injures a mule (which has to be destroyed), the British-seeming team sets out, taking a difficult route over scree-strewn hillocks; the Scandinavian-seeming team, a few days ahead, progresses up a dry river bed. Given the polar explorer motif, questions begin to nag. Why does no one mention the poles? Where is the ice? Where are the sled dogs, and why are both expeditions encumbered with mule trains? Answers present themselves as we become familiar, through indirect hints, with the manner in which the mules have become a burden for both societies. One day, as disaster strikes the British party, a crew member and several mules drown and one of the mules speaks. Mills (The Restraint of Beasts) expertly wields a narrow-bandwidth prose that hides distortions of reality in its very matter-of-factness. The effect is similar to the way old painters used to put anamorphic skulls in the foreground of their paintings: when we finally understand what we are seeing, it creates a backward-crashing estrangement from any sense of normalcy.
