The Shadow Catcher
Marianne Wiggins, 2007
Simon & Schuster
336 pp.
ISBN-13: 9780743265218
Summary
Following her National Book Award finalist, Evidence of Things Unseen, Marianne Wiggins turns her extraordinary literary imagination to the American West, where the life of legendary photographer Edward S. Curtis is the basis for a resonant exploration of history and family, landscape and legacy.
The Shadow Catcher dramatically inhabits the space where past and present intersect, seamlessly interweaving narratives from two different eras: the first fraught passion between turn-of-the-twentieth-century icon Edward Curtis (1868-1952) and his muse-wife, Clara; and a twenty-first-century journey of redemption.
Narrated in the first person by a reimagined writer named Marianne Wiggins, the novel begins in Hollywood, where top producers are eager to sentimentalize the complicated life of Edward Curtis as a sunny biopic: "It's got the outdoors. It's got adventure. It's got the do-good element." Yet, contrary to Curtis's esteemed public reputation as servant to his nation, the artist was an absent husband and disappearing father. Jump to the next generation, when Marianne's own father, John Wiggins (1920-1970), would live and die in equal thrall to the impulse of wanderlust.
Were the two men running from or running to? Dodging the false beacons of memory and legend, Marianne amasses disparate clues — photographs and hospital records, newspaper clippings and a rare white turquoise bracelet — to recover those moments that went unrecorded, "to hear the words only the silent ones can speak."
The Shadow Catcher, fueled by the great American passions for love and land and family, chases the silhouettes of our collective history into the bright light of the present. (From the publisher.)
Author Bio
• Birth—September 8, 1947
• Where—Lancaster, Pennsylvania, USA
• Education—Manheim Township High School, Lancaster
• Awards—Whiting Award, 1989; Janet Heidiger Kafka Prize
for best novel written by an American woman, 1990
• Currently—lives in Los Angeles, California
Marianne Wiggins was born in Lancaster, Pennsylvania, and has lived in Brussels, Rome, Paris, and London. She is the author of ten books of fiction, including John Dollar and Evidence of Things Unseen, for which she was a National Book Award finalist in fiction, as well as a finalist for the Pulitzer Prize. She has won an NEA grant, the Whiting Writers' Award, and the Janet Heidinger Kafka Prize. She is Professor of English at the University of Southern California. (From the publisher.)
More
From a 2005 Barnes & Noble interview:
Q: What was the book that most influenced your life or your career as a writer—and why?
A: Hands down, this was Tillie Olsen's Silences. It was published soon after I turned 30, when I had one book in print and had not really found my canvas nor my voice. I was at a turning point in my life, not knowing if I could make a "career" of writing and having a young daughter to support on my own. Olsen's masterpiece is not so much "written" as gasped — her passionate engagement with the subject of women writers grips you physically like a madwoman on a bus demanding your participation in her cause. I read it in the kitchen, I read it in bed — I still read parts of it at least once every month.
Q: What are your favorite books, and what makes them special to you?
A: When I moved back to the United States after living 16 years in London, I had to ship all my possessions to California through the Panama Canal. I'll always remember the look on that Allied Movers agent's face when he saw my shelves of books: over 300 cartons' worth, and that was after I weeded out the out-of-date travel books to places like Burma and Romania that I had bought for research for my novels. I'm going to have to sidestep this question, adapting my sister's line. She has five children and frequently, sincerely, says, "I love ‘em all." (Bio and interview from Barnes & Noble.)
Book Reviews
Wiggins seems to be writing her own psycho-history here. (The book is dedicated to her daughter, Lara Porzak, a photographer.) But if the novel fails to integrate all the cosmic elements she summons up — her digressions on maps, aerial perspective, Western land rights and Los Angeles traffic are strained — Wiggins ably challenges the smug idea that we can easily distinguish truth and falsehood in telling anyone’s story, especially our own. Fictive memoir? Fact-based novel? I don’t care what she calls this book. I’ll gladly read it again.
Richard B. Woodward - New York Times
There are passages in Marianne Wiggins's eighth novel so piercingly beautiful that I put the book down, shook my head and simply said, "Wow." She's reproduced a number of photographs in her text — appropriately, since her subject is a photographer — but these physical images pale in comparison to the pictures she creates with words.
Wendy Smith - Washington Post
The author can make you weep in a single sentence...The events and relationships are rendered on the page with an immediacy that catches you up short.
Boston Globe
(Starred review.) Wiggins is a writer who paints elegant pictures with words.... The pages are liberally sprinkled with photographs, insights, realistic pathos, and human situations. This creative novel will not disappoint. —Elizabeth Dickie
Booklist
Wiggins takes on real-life American photographer Edward Sheriff Curtis. The author braids the stories of Curtis, whose photos of Native Americans and the western landscape shaped the region's mythology; his long-suffering wife, Clara; and a present-day writer, "Marianne Wiggins," who's summoned to a Las Vegas hospital to see the dying "father" whom she knows to be an imposter because her dad hanged himself decades earlier. Incorporated into the text are photographic images taken by the mysterious, obsessive Curtis, famed for his pictures of grave, brooding Indians posed in ceremonial dress-funeral portraits of a dying race, he called them. Especially poignant is the plight of Clara, who manages the household and raises their children virtually alone (the youngest goes 18 years without seeing her father). Yet when she finally sues for divorce, the children side with Curtis, choosing the mythical god over the disciplinarian. Wiggins intercuts the story of the writer/narrator's own absent father. The novel can seem diffuse—neither storyline is explored as fully as it might be—but the stratagem pays off in bravura passages like the one in which Wiggins riffs her way from ethnic roadside restaurants to gods of Greek myth to the American cult of celebrity...and in the process forges an emotional link between narrative lines. An ambitious, lively work, though its fragments don't coalesce perfectly.
Publishers Weekly
Discussion Questions
1. Marianne Wiggins's new novel, The Shadow Catcher, centers in part on the life of a real historical figure, Edward Sheriff Curtis. Discuss the unique process of weaving fact and fiction: What difficulties it might pose? What artistic freedoms might emerge?
2. The book features an unusual narrative technique, combining historical fiction with more documentary-style biography and history, as well as a personal narrative that reads like memoir. Why do you think the author chose to tell this story in this way?
3. The chapters in the novel about Edward and Clara are essentially told from Clara's point of view. Is this ultimately more a story about Clara than Edward?
4. The intimate details of a personal relationship that unfolded in the past may not be documented in the way a public life might be. Is love a timeless emotion, or is the feeling influenced by the times in which it occurs?
5. The Edward Curtis presented here is a much more complicated man than the heroic figure that has come down to us through the legacy of his work. How do mythic elements of a human life arise over time?
6. Do you think Edward Curtis's story is a singularly American one?
7. There is a character named "Marianne Wiggins" in The Shadow Catcher who, on the surface, shares much of the history of the actual Marianne Wiggins. When you are reading a novel, does the feeling of making a personal connection with the author add to your experience?
8. In another unusual feature for a novel, The Shadow Catcher is peppered with images—not only some of Edward Curtis's photographs, but photographs from Marianne Wiggins's family and images of historical and personal documents aswell. Why do you think the author included these?
9. This is not the first time a photographer has been a central character in one of Marianne Wiggins's novels. Discuss the art of photography as it might relate to fiction.
10. A watchword throughout this novel is "Print the Legend." Why do you think we sometimes cling to our cultural myths in the face of overriding evidence against their truth?
11. Late in the novel Wiggins writes, "How the average person dreams is pretty much how the average novelist puts a page together." Discuss the possible meanings of this statement.
12. Marianne Wiggins was born and raised in the East, lived in Europe for many years, and now lives in California. How might a person come to develop such an obvious passion for a region—in this case the Western landscape—not her original home?
(Questions issued by publisher.)
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