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Ben Okri
More books by Ben Okri
An invitation from the publisher
Ben Okri on the Reissues
It is for me a conjunction no less than magical that these five books are coming out together. The four reissues were first published in the nineties and in the early years of this century. They were all published within a few years, in one house, under the aegis of Anthony Cheetham, and are being re-published now, in a cluster, in another house, under Anthony’s aegis. There is a kind of synchronous harmony to this, a kind of perfect circularity that is both satisfying and auspicious.
As a body of work, the four books link with each another in an unusual way. Each explores, from a different angle, the themes that are central to my writing. They are about the nature of reality, storytelling, enchantment, history, art and love. In each of these books I attempt something different. Astonishing The Gods is a short novel, written in a mode of enchantment, a kind of fable about visibility and invisibility, about ideals and ideas, and about the poetry of being. It was a major departure in my writing at the time it was written and remains one of my favourites. A Way of Being Free is a favourite with many of my readers, a book of semi-poetic essays on art, politics, storytelling, and creativity. I had been writing these private and public meditations since the eighties. They have been widely referenced and still remain much quoted online.
In 1996, The Landscapes Within, a novel written when I was in my twenties, was transfigured into Dangerous Love. This is a story about love and art, but also about the aftermath of the Nigerian Civil War – corruption, a lost generation, and a search for an artistic language with which to express the true nature of reality. It is a kind of twin to The Famished Road and many readers think it more accessible.
And then in 2002 came In Arcadia, a novel unlike any I had written till then, exploring the anomie of our times, travel, the quest for a salve for the anxious spirit of our age. It is also about television and the shadow of power.
Four different books radiating from an unmistakeable core. Readers who only think of me as the author of The Famished Road have a pleasant surprise coming. The four books look at poverty and the quest for happiness. They look at beauty and ugliness. They deal with the world of the real and the world of the fabulous. They look at Africa and they look at Europe.
What unites them all is an abiding sense of the mystery of life and the magical nature of storytelling. My writings are enchantments, even when they deal with difficult realities; because for me it is not the realities that define us, but the consciousness with which we experience and face them.
The Age of Magic is the novel leading the procession into the world. For more than twelve years these four books have dwelt tenderly in the underworld. That their reincarnation is heralded by the birth of a new novel is entirely fitting. The Age of Magic is my first novel in seven years. That these five books are published by Head of Zeus is cause for celebration, cause for contemplating, with a sense of wonder, the nature of fate, and what charming bounties it promises.
Ben Okri
July 2014
Preview
Read on for a preview of
‘The Age of Magic has begun.
Unveil your eyes.’
Eight weary film-makers, travelling from Paris to Basel, arrive at a small Swiss hotel on the shores of a luminous lake. Above them, strewn with lights that twinkle in the darkness, looms the towering Rigi mountain. Over the course of three days and two nights, the travellers will find themselves drawn in to the mystery of the mountain reflected in the lake. One by one, they will be disturbed, enlightened, and transformed, each in a different way.
An intoxicating and dreamlike tale unfolds. Allow yourself to be transformed. Having shown a different way of seeing the world, Ben Okri now offers a different way of reading.
A work of art that retraced the conquest of happiness would be a revolutionary one.
Camus, Noces (1937)
The age of magic has begun.
Unveil your eyes.
Pensero, Il Camino (1321)
Book 1
The Journey as Home
1
Some things only become clear much later.
2
They were on the train from Paris to Switzerland when the white mountains and the nursery rhythms of the wheels lulled him to sleep. He found himself talking to a Quylph.
‘What are you afraid of?’ it said.
‘Why should I be afraid of anything?’ Lao replied.
‘Maybe you are afraid of Malasso?’
‘Why should I be afraid of him?’
‘Everyone else is.’
‘I don’t know him.’
‘People are afraid of what they don’t know.’
‘Never met him. Why should I be scared of him?’
‘You tell me.’
Lao became aware, out of the corner of his eyes, that everything seemed luminous. In a compartment full of businessmen, tourists, and young lovers the Quylph looked perfectly at ease. This bothered Lao.
‘Then it must be life you are afraid of,’ the Quylph said after a while.
There are some conversations so strange that they are only remembered much later, but not noticed at the time.
The Quylph, in a unique space, occupied the seat across from Lao. He felt lucky to see it.
With a hint of amusement, it said:
‘Do you know what the luckiest thing is?’
‘No.’
‘It is to be at home everywhere.’
Outside the window the mountains changed from white to green.
‘You may see me again later,’ smiled the Quylph. ‘But don’t look out for me.’
‘Wait! I want to ask you a question.’
‘You had your chance,’ the Quylph said with an expression at once malicious and droll. ‘Be more awake next time.’
3
Lao slept in a shining orb. He woke up at his table, with a book on his lap, and the world was different. The jagged mountains raced past the large window. Mistletoe was asleep with a smile on her face. At that moment Jim, the director of the documentary they were making, appeared in front of him.
‘We need to film you interviewing your fellow passengers.’
Lao stared blankly at Jim’s benign jowled face. He was still trying to decipher the inscription that was the Quylph and his hearing was slow.
‘Are you all right?’ Jim said.
‘Fine! Great! When do you want me?’
‘Whenever you’re ready.’
‘I’m ready now.’
It turned out that Jim wasn’t. He had figured Lao would give him trouble for about thirty minutes, which would have given Sam, the cameraman, enough time to finish his shots at the other end of the train. Jim had expected Lao to be difficult, and was a little annoyed that he wasn’t. On the whole, Lao thought, we don’t like people changing on us. It means we have to change too, and we dislike making the effort. We prefer them predictable. Jim stood there not knowing what to do. Lao sat back down, and Mistletoe woke up.
‘Come get me when you are ready,’ Lao said.
‘I’m ready,’ said Mistletoe.
‘Okay,’ said Jim, leaving reluctantly.
‘Not you,’ Lao said, squeezing Mistletoe’s hand.
4
They were making a television documentary about a journey to Arcadia, in Greece. In those days seven people were needed to film such a journey. They had started in London and had filmed in Paris and were now bound for the Goetheanum in Basel, Switzerland. Along the way they were filming travellers, asking what their idea of Arcadia was, what their ideal of happiness might be. They were making a journey to a place, but in truth they were making a journey to an idea.
There were eight of them: seven involved in the filming, and Mistletoe, Lao’s companion. The journey which began as a documentary became one in which, against their wills, they
were being changed.
5
While he was waiting, Lao began thinking of the persona he would adopt. He conceived of life as a game in which one gets to play many roles and have many personas. He thought it best not to be too hung up on consistency. Only the dead are consistent.
The imp of impersonation came over him. He thought about how the camera makes one fall in love with an image of oneself, and perpetuates a false reality. What if by sheer repetition we become the person we most often pretend to be? Does that mean there is no authentic self? Are we made of habits, compressed by time, like layered rocks?
These questions turned in his mind as he prepared to meet the travellers he was to interview. His mind was unclear.
6
Husk, who was in charge of all logistics of filming, came over to fetch Lao. She was thin and efficient and neurotically beautiful in her floral dress. She had already scanned the passengers for suitable candidates. The four people she chose were white, middle-class, American, and were travelling together.
She considered that, of the four, the lady who spoke with confidence was the ideal person to speak for the group. Husk thought she had the most interesting personality. She explained all this to Lao while they were standing between compartments, and she had to raise her voice because of the grinding of the wheels.
‘They’re a lovely group. I’ve spoken to them all. Just be calm. Are you sure you’re all right? You look as if you’re not quite here. The lady called Barbara is definitely the leader. She’s got great personality, as you’ll see. Are you sure you’re okay?’
From the beginning of the journey Husk had entertained doubts about Lao as the presenter of the film. She doubted he had the qualities required, doubted his grasp of the subject, and his character. Lao was aware of this, and of his reputation for being difficult, and it amused him.
‘I think so,’ he replied.
‘Just remember the one with personality,’ she said.
7
While they were waiting for Sam to set up the cameras, Lao thought about the nature of personality. He wondered how much of a role it played in the outcome of events. He wondered how much was possible, or failed to be possible, because of it. But what is personality, he asked himself? The general theory is that it is active, performed, and larger than life. But it seemed to him that personality is the outward presence of an inner accomplishment. It exerts its influence unseen, like the moon on the tide. It sways without knowing that it does. It is akin to talent or an innate gift. The strategies of Alexander, thought Lao, are a metaphor of his personality rather than of his calculation. History might be the story of personality acting on time and memory. Maybe, when we immerse ourselves in the genius of existence, Lao thought, personality can even overcome fate.
Sam sent word through Riley, his gamine assistant, that the cameras were ready, and that filming could begin. But what happened next taught Lao a significant lesson about what is generally called personality. He learned about the power of the silent ones.
8
The film crew were ready for him; all seven of them were there in the compartment. The camera infused its drug into Lao’s system. He tried to become a seducer of eyes. Love me and lie, he thought to the camera, as he went to meet the four Americans.
They were seated together at a table. The two women, Emily and Barbara, had the window seats. The men, Bob and Scott, were big clean-shaven fellows. Scott, Emily’s husband, was facing the direction of travel. Bob was backing it. All four in their late fifties looked healthy and prosperous, and seemed reasonably pleased with their lives. They looked at Lao with expectant faces. Whom should I address, he thought, in a mild panic? Do I speak to all four as if they are one person? He decided to address them individually.
He told them about the journey so far, and engaged them in the small talk of all travellers. His idea was to enter the profound through the simple gate. He let them choose their own leader from among them, the one who had the most to say and said it well. The two men seemed friendly enough. They regarded him with an openness touched with scepticism, Bob apparently the more open of the two.
‘Have you heard of Arcadia?’ Lao asked them.
There was a curious silence as they digested the word.
9
Lao noticed, for the first time, the architecture of the word. It began and ended with the first letter of the alphabet. Beginning with a beginning and ending with a beginning too. There was also a beginning right at its centre. It occurred to him that letters might be symbolic, might conceal deeper meanings. He glimpsed the word’s hinterland.
Begin at the beginning; at the mid-point begin again; and at the end return to the beginning. Never move far from the alpha of life. Replenish yourself in the aleph. Renew the core with the alf. In A we begin and to A we return. Four rivers flow into the Garden of Eden. In one of them, as an old commentary says, the gold of the land is good. A fifth river can be said to flow from Eden to Arcadia, and its allegories are wonderful, its gold good. When we are young we set out with dreams. In the middle of the journey of our lives we find perhaps that we have lost our way. At the end we find the origin; and we begin again.
10
Lao shook himself.
‘Have you heard of Arcadia?’
Bob spoke first. He had a good face and an eye that distrusted salesmen.
‘Well, Arcadia is where we’ve come from, and I’ve heard about the one you’re travelling to,’ he said.
Lao realized that they had been briefed by Husk, and this threw him a little.
‘What does Arcadia mean to you?’
‘I don’t know.’
Jim, who had been following the conversation, came over and whispered something slowly in Lao’s left ear, as if engaged in a serpent-like form of hypnotism. It made Lao uneasy. He told Lao to restate his theme for the camera’s benefit. Lao, inwardly bristling, asked the group:
‘Which is best, travelling or arriving?’
‘Arriving,’ said Bob.
‘I’d say the travelling itself,’ said Barbara. ‘There’s something new each day, a sense of anticipation about things you haven’t seen before.’
‘I think both,’ said Scott, who worked in the US Navy. ‘It’s interesting to see other cultures, see how other people live.’
The silent lady near the window hadn’t spoken yet. She had a thoughtful smile, and a glow that emphasised her silence.
Available now
About this Book
A young man is transported to an enchanted isle in a quest to discover the secrets of visibility.
He finds himself amidst a society of invisible beings who have built a utopia based on a single law, ‘Every experience is repeated or suffered till you experience it properly and fully for the first time.’
Reviews
ON DANGEROUS LOVE
‘Okri’s masterpiece to date… solid, convincing and classical.’
Sunday Telegraph
‘Poetic writing of a very high order… tender, nightmarish, wise and soulful tragedy.’
Daily Telegraph
‘One comes to inhabit it as one reads… A reason for constant celebration.’
Scotland on Sunday
‘One of the world’s finest writers… A life-affirming, lyrical book.’
Options
‘A tough, ecstatic book.’
Independent on Sunday
‘No other contemporary author captures the ephemeral with as much success. Okri should easily pass the hundred year test.’
The Good Book Guide
‘Intelligent and moving.’
Spectator
‘The rippling, translucent style is deliberately pared down to tell a simple, memorable narrative of ambiguous love and disaster.’
Mail on Sunday
ON ASTONISHING THE GODS
‘A modern-day classic.’
Evening Standard
‘Amazing… This is as close as you can get to reliving the experience of a
bedtime story.’
Guardian
‘Powerful, sensuous and philosophical.’
European
‘Graceful and enigmatic… Exciting, like a trip into a de Chirico landscape.’
Daily Telegraph
‘A new creation myth… a beautiful book… its mere task to make the impossible possible.’
Scotsman
‘A rare achievement… Fulfills Calvino’s prescription for lightness – being like a bird, rather than a feather… an impressive, brave, and often beautiful little book.’
New Statesman
ON A WAY OF BEING FREE
‘Okri imbues these essays with a writer’s insight… And he does so in an inimitably sinuous yet abstract style well suited to his theme… oblique, oneiric, rhapsodic, elliptical.’
Independent on Sunday
‘There can be no mistaking Okri’s passion and intelligence.’
Sunday Telegraph
‘Okri is marvellously enthusiastic at promoting the poetic cause, pouring out his love for creativity in “The Joys of Storytelling” with a passionate reverence.’
Daily Express
‘Thoughtful, concise, cultivated and clear.’
Scotland on Sunday
‘Okri is at once as foreign and as British as Joseph Conrad.’
Daily Telegraph
ON IN ARCADIA
‘Incantatory beauty. Profound and enchanting.’
The Times
‘A charm and magic that is bright and striking and angry.’
Irish Times
‘Mixing a densely metaphysical approach with a delightfully lyrical style… a truly fascinating work, and a hugely ambitious one too.’