Everything was real; inconceivably real, infinitely dear. These and all
things started as nothing, latent within a vast energy-broth, but then
we named them, and loved them, and, in this way, brought them forth. And
now we must lose them.
~George Saunders, Lincoln in the Bardo
We just finished listening to the audiobook of George Saunders'
Lincoln in the Bardo. Seven hours and
166 voices! The magazine
Wired says the audiobook "
feels like a movie," and we really can't argue with that assessment, particularly as the readers include Susan Sarandon, Julianne Moore, Don Cheadle, Nick Offerman, and Megan Mullally.
Author Colson Whitehead called the book "a luminous feat of generosity and humanism."
For those of you who haven't heard of George Saunders' first foray into novel-writing (he was previously known for short stories and essays, particularly the collection
Tenth of December),
Lincoln in the Bardo is the story of the one night during Abraham Lincoln's presidency, in the first year of the war and after the death of his son Willie, "
his parents’ darling" - the Lincolns had four sons, but only one survived to adulthood - but the story is told primarily as an oral history by the residents of the graveyard in which Willie was temporarily interred, Georgetown's Oak Hill Cemetery. The term "bardo" refers to "
the transitional state between life and death defined by Tibetan Buddhism." As Saunders was writing the book, he could see a statue of Lincoln from his office at Syracuse University - as he told
GQ magazine, "
He's in a meditative posture. He's sitting with
his legs spread wide and looking down. I would wander out there to kind
of remind myself that, you know, he was a real person and that he was a
little inclined to depression. Almost like a gut check: ‘Okay, man, I'm
still trying to do you justice.’ ”
The book dances between the stories told by residents of the afterworld and historical sources. Saunders cites over 39 sources just in the first 50 pages of the book - in fact, the term op. cit. is employed so many times in the audiobook, we were confused at first, being unfamiliar with that citation. However, not every source is the real deal, though all the quotes go a long way towards evoking Lincoln's era. In
NPR's generally favorable review, author Maureen Corrigan takes him to task for his "postmodern" mix of real historical sources and imagined ones - "Throughout
Lincoln in the Bardo, Saunders intersperses chapters
packed with quotes from historical sources. He gives citations for
these historical sources and some are legit — like Doris Kearns
Goodwin's book on Lincoln, for instance. But other sources are made up. All the historical passages are tossed together indiscriminately" - while Colson Whitehead argues "Are the nonfiction excerpts — from presidential historians, Lincoln
biographers, Civil War chroniclers — real or fake? Who cares? Keep
going, read the novel, Google later." What's your take on the issue?
A Washington Post review enthuses, "The quotations gathered from scores of different voices begin to cohere
into a hypnotic conversation that moves with the mysterious undulations
of a flock of birds." Passages
describing young Willie Lincoln are extremely specific and moving, describing his traits and habits (including blinking from under his bangs, baggy suit, and ceremonial salutes to his father's cabinet), convincing us at first that all the quotes were from real sources. Personally, we have to confess to a little sadness that some of the titles quoted do not exist - we wouldn't mind reading an anthology called
White House Soirees, or even the somewhat maudlinly-titled
The President's Little Men and Lincoln's Lost Angel, not to mention A Season of War and Loss and Long Road to Glory. But some of the titles quoted do exist, and Lincoln enthusiasts can find several of the books cited by Saunders or related books by the same authors in the library catalog:
