Full title: In Calamity's Wake
In Calamity’s Wake is, narratively speaking, very simple. ‘Straightforward’ is a better word to define it. It tells the story of a daughter in search for a mother she had never known. The protagonist leaves from point A and arrives at point B after having experienced the customary complications that give stories flesh and bone. At point B, she fulfils the wish expressed in the beginning (i.e. she finds her mother), and so, the book comes full circle and the initial target is attained.
When these additional elements are singled out, the story is
discovered to be linear. It comprises two major treads: alternating chapters
focused on the two figures mentioned above (mother and daughter), as well as
some one-off chapters where digressional situations are described in order to
add more flesh to the main thread. Of the two major plotlines, the one occupied
by Miette (told in the first person singular) is the one carrying most of the
weight; it is through the story of the search for the lost mother that the novel
builds up, one narrative unit at a time. The parts where Calamity Jane is the
prominent figure (told in the third person) serve almost exclusively as characterization.
Here, it is as if we are invited to scale the worth of the protagonist’s
target. Calamity, a character who also, like her daughter, moves often from one
place to another, is a show-woman. She poses for souvenir photographs, has roles
in popular theater shows, shoots guns to entertainment audiences – and, on a
personal level, loves and loses, drinks too much, supports the Indian’s cause, is
soft underneath the tough surface of her appearance. This accumulation of
character features and traits of personality serves, undoubtedly, to outline
her as the aim of the protagonist’s wanderings. She is the reason why
everything in the novel is happening. She is the actual motive, the raison d’être,
the organizing principle. She also serves a more practical purpose: she makes
sure the story doesn't lean on one side, where Miette is, and where most of the
episodes are told through verbs of action. Calamity Jane, a narrative trick in
the skin of a historical figure packaged as a character.
Author: Natalee Caple
Genre: Fiction, novel
Attributes: 240p, hard cover
Publisher: Bloomsbury (2013)
On the scale of Zero to One: Zero (i.e. borrowed from local library)Genre: Fiction, novel
Attributes: 240p, hard cover
Publisher: Bloomsbury (2013)
In Calamity’s Wake is, narratively speaking, very simple. ‘Straightforward’ is a better word to define it. It tells the story of a daughter in search for a mother she had never known. The protagonist leaves from point A and arrives at point B after having experienced the customary complications that give stories flesh and bone. At point B, she fulfils the wish expressed in the beginning (i.e. she finds her mother), and so, the book comes full circle and the initial target is attained.
Because of this manifest simplicity, it often feels as
though the author had taken Vladimir Propp’s narrative theory of characters and
actions and used it as a blueprint for her own novel. Characters here are,
really, types. There is Miette – Propp’s Hero;
and Martha Canary, also known as Calamity Jane (understand the title now?),
Miette’s mother, real person recorded in the history of the Wild West – oscillating between the functions of False Hero and Princess (a
character sought for throughout the narrative, and who turns out to be
different from what she seemed to be in the beginning). Then there is a Dispatcher (Miette’s adoptive father
who, on his death bed, makes her promise to start the journey that sets the
novel off). There are numerous Donors
and Helpers as well. The book is full
of them.
In her almost picaresque adventures through the dry,
inhospitable Western-American Badlands of the late nineteenth century, which
form the setting of the novel, Miette encounters people who have known her
mother in one way or other. They move freely in a décor that resembles
Alexandro Jorodovsky’s desiccated landscapes in El Topo. The number of minor
characters is quite impressive. Many of them pop in and out of the story
swiftly, without sufficient time to grow to the size of note-worthy personages.
These characters function like nodes in the narrative; they are halting places,
where the reader is encouraged to rest and remember the protagonist’s purpose.
Every such character gives Miette another jolt forward, and so the story builds
and builds.
The real Calamity Jane, in 1895 Source: Wikipedia |