From the bestselling author of The Cellist of Sarajevo, a darkly fanciful, beautifully wrought novel of magic, intrigue, and illusion.
What is real and what is an illusion? Can you trust your memory to provide an accurate record of what has happened in your life?
The Confabulist is a clever, entertaining, and suspenseful narrative that weaves together the rise and fall of world-famous Harry Houdini with the surprising story of Martin Strauss, an unknown man whose fate seems forever tied to the magician’s in a way that will ultimately startle and amaze. It is at once a vivid portrait of an alluring, late-nineteenth/early-twentieth-century world; a front-row seat to a world-class magic show; and an unexpected love story. In the end, the book is a kind of magic trick in itself: There is much more to Martin than meets the eye.
Historically rich and ingeniously told, this is a novel about magic and memory, truth and illusion, and the ways that love, hope, grief, and imagination can—for better or for worse—alter what we perceive and believe.
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Steven Galloway lives in British Columbia and teaches creative writing at the University of British Columbia. He is the author of The Cellist of Sarajevo, which was an IndieBound and a Barnes and Noble Discover selection and has been chosen for community reads across the country.
*Starred Review* Confabulation is the invention of imaginary memories to compensate for memory loss. It’s not lying because the confabulist is not aware the memories are false. This fascinating novel is narrated by Martin Strauss, who confesses to two things: he is the man who killed Harry Houdini (twice), and he suffers from a degenerative condition that affects his brain’s ability to store memories. Strauss tells a fascinating story about the unknown Houdini: stage magician—sure, we all know that—but also a secret spy for the U.S. Treasury Department, advisor to the American military, confidant of a Russian spy, faker of his own death. Strauss’ story so cleverly mixes historical fact with fiction that it is virtually impossible to separate the two (and, remember, Strauss believes it’s all true). Author Galloway will often take a real event, such as Houdini’s escape from a prison transport in Moscow, and layer on fictional elements, but it’s done so seamlessly that it’d be easy to think the whole episode really happened (as Strauss, in fact, does). The book’s title itself could easily apply either to Strauss (for obvious reasons) or to Houdini himself, whose escape-artist persona, even his name, was an embellishment of the real man. A brilliant novel, and one that virtually demands multiple readings to pick up all the subtleties (especially concerning the end of the book, and enough said about that). --David Pitt
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