John Barth - Letters

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A landmark of postmodern American fiction, Letters is (as the subtitle genially informs us) "an old time epistolary novel by seven fictitious drolls & dreamers each of which imagines himself factual." Seven characters (including the Author himself) exchange a novel's worth of letters during a 7-month period in 1969, a time of revolution that recalls the U.S.'s first revolution in the 18th century — the heyday of the epistolary novel. Recapitulating American history as well as the plots of his first six novels, Barth's seventh novel is a witty and profound exploration of the nature of revolution and renewal, rebellion and reenactment, at both the private and public levels. It is also an ingenious meditation on the genre of the novel itself, recycling an older form to explore new directions, new possibilities for the novel.

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So mutual are everyone’s suspicions among the Longwood entourage, so clear (however mixed with grief for their leader) their eagerness to begone, Andrew dares take none into his confidence; and there is no use in relaying his “credentials” to an obviously dying man. It becomes his job to persuade le Maure that he has already made contact with the emperor, who looks forward eagerly to rescue and who is feigning illness the better to isolate himself from English surveillance and mislead suspected traitors in his own household. The equinox approaches, but Andrew’s inventiveness fails him: how on earth to get himself delivered to Lafitte and le Maure as the emperor of the French, and at the same time persuade them that “André Castine” is ensconced in Longwood, composing the emperor’s last will and testament? He had not anticipated so universal and profound distrust, such general assumptions of conspiracy, counterconspiracy, double- and triple-agentry!

Word comes from le Maure that Jean Blanque has returned on schedule. Lafitte himself slips ashore, cool and smiling. With not the slightest notion how to manage it, Andrew assures him that all is arranged: after moonset next night, two of Bonaparte’s household — the lamplighter Rousseau and the usher Chauvin — will deliver their master to the trysting place. Bonaparte will be harmlessly narcotized, to exculpate him from charges of complicity should the escape be foiled by the British. He is in mild ill health, but expects to recover, the more rapidly for a bracing ocean voyage and release from captivity. He has reservations about the Louisiana Project, but is open to persuasion. Rousseau and Chauvin are acting in their master’s best interest, but will not refuse a just reward for their risk. Et cetera! Andrew even invites the Baratarian to slip back to Longwood next day and receive a signal from himself that the substitution has been successful; that he will carry through the charade of dying, return to the ranks of the fishermen, and confidently await his own rescue.

Desperate improvisation! He expects many questions, whether anxious or suspicious: Lafitte merely embraces him with a light smile, wishes him bonne chance, promises to be in the appointed place at the appointed hour on the morrow.

Throughout the 21st Cook conjures “shift after desperate shift,” and can hit upon nothing even remotely likely. He has not got through to the invalid prisoner. He has no confidence in Rousseau, Chauvin, Ortini; barely knows them. Beyond bribing a suit of Napoleon’s clothes from a laundry girl (the loss causes little stir; souvenir pilfering and counterfeiting are an industry on the island), he has been able to make no arrangements whatever. In a lifetime of stratagems and ruses he has never been so nonplussed.

At moondown he dons those clothes, assumes his “private,” “true” imposture of Napoleon, modified by what little he has seen and learned on the island. He conceals himself in the Longwood gardens, in the vague hope that Rousseau or Chauvin might wander by and be impressed into service. The hour arrives; no one is about except the regular British sentries. Feeling more nakedly foolhardy than at any moment since that night a quarter-century past when he donned Joel Barlow’s clothes and rode out to a certain Algerian headland, to enter a certain dark carriage, Andrew works through the cypresses and privet, past the sentries, toward where le Maure and Lafitte await. Can he perhaps feign detection, mimic several alarmed voices, simulate the thrash of two servants fleeing, bring the sentries running, and then stumble as if dazed into the rendezvous? Faute de mieux, he gathers himself to it…

And somewhile later woke half-tranced, knowing neither where I was nor how I came there! Bloodsworth Island? 1812? Husht urgent voices all about, in a medley of accents: French, Corsican, Italian, German, English, St. Helenish, even Yankee! A thunder of surf, & the damp rock under me, bespoke that ledge we had barely fetcht up on two months past. I guesst I had either swoon’d again, as at New Orleans & Fort Bowyer, or been knockt senseless by “friend” or “foe,” & carry’d down that terrific cliff. I heard Jean’s voice, unalarm’d, giving orders to le Maure & the fishermen. Who was that German? That New Englander? Was that a British female whisper’d?

He conceals regaining consciousness in hopes of making out his situation; permits himself to be rowed like a dead man for hours out to sea, hoisted easily over a shoulder he recognizes as le Maure’s, and put to bed in a familiar aft cabin of the Jean Blanque —but nothing he can overhear tells him what he craves to know. Now there is a lantern-light to peek by: he sees Lafitte tête-à-tête with a cloaked stranger; whispers are exchanged, papers, a small pouch or box? They examine a map. They agree. The stranger leaves; Lafitte also; one can hear orders given on deck, sail made. The schooner swings about and settles under way.

Andrew considers the possibilities. His ruse has perhaps been anticipated by Lafitte, by the U.S. Secret Service, by Metternich, the British, the French. They know he is Andrew Cook, but see fit to support his imposture? Or they don’t know; the imposture has for the moment succeeded! In the first case he must be candid with Lafitte or lose what trust after all remains; in the second, such candor might be fatal — and both suppositions could be incorrect. Should he pretend to be a willing Napoleon? An outraged, resentful one? An unperturbed Andrew Cook?

He feels his way carefully: “wakes” as if uncertain himself who and where he is; is greeted politely but ambiguously by Jean’s body-servant, by Lafitte himself, whose ironical courtesies fit either hypothesis. On deck the Baratarians receive him as the ailing Bonaparte he pretends to be, but are under obvious and sensible orders not to address him by any name. With Jean, in private, he hazards maintaining that imposture, and is puzzled: the man’s half-mocking deference suits neither the belief that he has rescued his emperor nor the knowledge that his erstwhile comrade has deceived him. He begins to suspect that Lafitte believes him to be neither Napoleon Bonaparte nor Andrew Cook, but the impostor alleged to have been substituted for Napoleon in January 1820—and that this state of affairs is for some reason acceptable to him!

But he cannot be certain, and so the voyage proceeds in an extraordinary equivocality, every gesture and remark a potential test, or sign. Where are they bound? “To America.” And to where in America? “To that place arranged for Your Majesty by his friends there.” Andrew is greatly encouraged to be presented after all, however ironically, with the agreed-upon ultimatum: to live incognito under Joseph’s protection (Lafitte does not say “your brother’s”) or, as General Bonaparte (Lafitte says neither “as yourself” nor “as the Emperor Napoleon I”), to lead a movement organized by American Bonapartists “both exiled and native, of great wealth and influence.”

He will choose, Andrew declares, when he has spoken to Joseph and the movement’s leaders and heard more details. Meanwhile it is surely best to remain incognito, if only officially, even between themselves.

Jean smiles. “I shall call you Baron Castine.”

Andrew smiles the same smile. “That is a name I know. It will quite do.”

Then he takes a great gamble. In a tone he hopes appropriate to whatever might be Lafitte’s understanding of him, he observes that no matter what fate awaits him in America, it is unlikely he will see again the land of his birth or, as it were, the theater of his life’s first cycle (the phrase is Andrew’s). Though he has a brother in America, the rest of his family are elsewhere. He does not expect to see his wife again; as for his son, that is too delicate a matter to venture upon at present. And his brothers and sisters are too various, either in their loyalty or in their good judgment, to place overmuch faith in just now. (Andrew speaks in these epithets rather than in proper names, watching Jean’s face.) But his mother, he declares, while less ill than himself, is old and cannot be expected either to live a great while longer or to undertake a transatlantic voyage. He would therefore like to pay her a call — incognito, if necessary — and bid her a last farewell before commencing his new career.

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