The Invention of Everything Else
A Novel
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4.0 • 4 Ratings
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- $9.99
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- $9.99
Publisher Description
Nikola Tesla spends the last days of his extraordinary life at the Hotel New Yorker “in this surreal historical novel [that] dazzles in the details” (The New Yorker).
It is 1943, and legendary inventor Nikola Tesla occupies a forbidden room on the 33rd floor of the Hotel New Yorker, stealing electricity. Broke, forgotten, and suffering from a weak heart, his only consolations are his memories and his daily walks to Bryant Park. Louisa, a young hotel chambermaid, is determined to befriend him. And as she helps him on his daily walks, she wins his affection through a shared love of pigeons. Little by little, he confides in her the tragic and tremendous story of his life.
Meanwhile, Louisa’s father is embarking on an unlikely mission to travel back in time to find his beloved late wife. A “sophisticated pastiche of science fiction, fantasy, melodrama, and historical anecdote,” The Invention of Everything Else is both a heartfelt story of love and death and an homage to one of history's most visionary scientists (Elle).
PUBLISHERS WEEKLY
In Hunt's (The Seas) overstuffed and uneven novel set in New York, circa 1943, an aging Nikola Tesla lives at the Hotel New Yorker and cares for (and chats with) pigeons while planning what could be his boldest invention yet. He forges an unlikely friendship with Louisa Dewell, a 24-year-old chambermaid at the hotel who also keeps a pigeon coop. The book alternates between Niko's reminisces of turn-of-the century Manhattan and Louisa's current domestic dramas; Niko revisits old grievances concerning the usurpation or dismissal of his many inventions, and Louisa gets ensnared in her zany father's mission to travel back in time and reconnect with his dead wife via a time machine built by his lifelong friend Azor Carter. Assisting in the scheme is Louisa's mysterious beau, Arthur Vaughn, who may or may not be from the future. Although many events are drawn from Tesla's life, he and his peers, including Thomas Edison and John Muir, are cartoonish. Likewise, the city backdrop is drenched in rosy nostalgia (even Hell's Kitchen is a quaint neighborhood). Each individual plot thread has potential, but the cumulative effect is dulled by an unwieldy structure.
