“The lake rose and fell and murmured beneath his paddle like a primitive animal mass, then fell silently back into its mineral existence.”
What is happening in the novel is so magical and alive and so delicately parallels the story the character Claire is writing that the reader is unsure whether Claire is writing about what is happening around her or whether Claire’s writing is causing what is happening around her to happen.
“Who knew if diving into the void [writing] shattered the already porous walls between what appears to exist and what does not yet exist?”
Proulx wields repetition like a wand—within sentences, within paragraphs, within the content and the structure of the novel. Take a look at the opening sentences:
“Lila Szach liked uphill paths. In life so many things—and life itself, in fact—go only downhill.”
Wildlives is so beautifully structured that it gave me goose bumps. It begins with a section entitled “Lila,” in which the young Lila is able to imagine herself an old woman. The last section is entitled “Jeremie,” and in it the old Jeremie thinks he sees the figure of a child. In each of these sections, the sun surprises the character so that the world appears to be on fire.
In between these sections, the story takes place: Lila is 76 and Jeremie is a boy. Age and youth, the past and the future. And who’s to say it doesn’t all come together at a certain moment in time.
Wildlives was originally written in French and is beautifully translated by David Homel and Fred A. Reed:
“You think you’ll grow old gracefully, so slowly that you’ll hardly notice it; instead, it leaps on you and reduces you to rubble.”
“…but she could not move, weighed down with nostalgia, suddenly stabbed by the brevity of the whole adventure. How cruel it is; we barely have time to master three steps of the immense cosmic choreography before we’re yanked from the ballet.”
“Night had officially ended, but it still hung in the trees.”
Wildlives was a finalist for the 2008 Governor General’s Award for Fiction.