Sofia Ahlberg The Aesthetics of Environmental Catastrophe in Michel Faberâs The Book of Strange New Things and Edward Burtynskyâs Oil Photographs For Halloween in 2015, The Guardian published a piece on the fears of a range of authors including novelist Michel Faber. Faber recalled the sense of alarm he felt as a child while viewing a Christian inspirational film. It was set in a circus in which a Jesus-Âike clown takes on anotherâs suffering as a magician saws his female assisl tant in half. Faber was frightened, he says, because as a nine-Âyear old he was unable to read the film allegorically as a parable of Christâs passion redeeming humanity. He saw only the violence done to the woman fully felt by Christ-Â s-Â lown, whose a c face contorted with agonising pain during the performance. To those familiar with Faberâs work, and perhaps especially his recent, and by his own account final, novel The Book of Strange New Things (2014), fear and apprehension are to be expected. Indeed, a sense of impending doom pervades this most recent novel until it becomes the terrifying actuality of complete global breakdown. As we shall see, in the novel the plight
The Comparatist – University of North Carolina Press
Published: Nov 1, 2017
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