The Book of Strange New Things

A Novel

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Bestseller

October 28, 2014 | ISBN 9780553418859

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October 28, 2014 | ISBN 9780553546224

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About the Book

A monumental, genre-defying novel that David Mitchell calls "Michel Faber’s second masterpiece," The Book of Strange New Things is a masterwork from a writer in full command of his many talents.

It begins with Peter, a devoted man of faith, as he is called to the mission of a lifetime, one that takes him galaxies away from his wife, Bea. Peter becomes immersed in the mysteries of an astonishing new environment, overseen by an enigmatic corporation known only as USIC.   His work introduces him to a seemingly friendly native population struggling with a dangerous illness and hungry for Peter’s teachings—his Bible is their “book of strange new things.” But Peter is rattled when Bea’s letters from home become increasingly desperate: typhoons and earthquakes are devastating whole countries, and governments are crumbling.  Bea’s faith, once the guiding light of their lives, begins to falter.  

Suddenly, a separation measured by an otherworldly distance, and defined both by one newly discovered world and another in a state of collapse, is threatened by an ever-widening gulf that is much less quantifiable.  While Peter is reconciling the needs of his congregation with the desires of his strange employer, Bea is struggling for survival.  Their trials lay bare a profound meditation on faith, love tested beyond endurance, and our responsibility to those closest to us.

Marked by the same bravura storytelling and precise language that made The Crimson Petal and the White such an international success, The Book of Strange New Things is extraordinary, mesmerizing, and replete with emotional complexity and genuine pathos.
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Praise for The Book of Strange New Things

“Defiantly unclassifiable. . . . Faber reminds us there is a literature of enchantment, which invites the reader to participate in the not-real in order to wake from a dream of reality to the ineffability, strangeness, and brevity of life on Earth.”The New York Times Book Review

“Provocative, unsettling.”—People

“Profoundly moving. . . . . A vivid portrait of a distant galaxy, reinforced by a narrative that is deeply, emotionally evocative.”—USA Today

“Elegant. . . . A lovely, thought-provoking meditation on love and faith and the never-ending mysteries of the natural world.”—Entertainment Weekly

“Intriguing . . . both painful and compelling. And when you find out the answers to some of the novel's central mysteries . . . Well, I won't give anything away, but the answers pack a punch.”—Rick Riordan

“Eerie and ambitious. . . . Faber is a genuinely gifted storyteller and his novel gains resonance and tidal force in its final third.”—The New York Times

“Faber illustrates, movingly, the impossibility of adequate communication in the face of life-changing experience. . . . Rich and memorable.”—The New Yorker

“Fascinating . . . Poignant . . . Remarkable . . .”—The Washington Post

“Faber tells a beautifully human story of love, loss, faith and the sometimes uncrossable distances between people.”—NPR, “All Things Considered”

“Harrowing, wrenching. . . . A bold and unexpected work of beauty. . . . Faber’s sincerity keeps The Book of Strange New Things honest, and his talent steers him away from cliché.”—The New Republic

“[A] masterpiece”Cosmopolitan

“Intergalactic in scope.”—Reuters

“Astonishing and deeply affecting.”—The Guardian

“A hugely serious story about the testing of religious faith. . . . A work of originality and insight.”—The Times

“At the heart of The Book of Strange New Things is one question: Whom—or what—do you love, and what are you willing to do for that love (or not willing)? The result is a novel of marvel and wonderment with a narrative engine like a locomotive.”—Yann Martel

“In my opinion The Book of Strange New Things is Michel Faber’s second masterpiece, quite different to The Crimson Petal and the White but every bit as luminescent and memorable. It is maniacally gripping.”—David Mitchell

“Michel Faber’s The Book of Strange New Things certainly lives up to its title. I can’t remember being so continually and unfailingly surprised by any book for a long time.”—Philip Pullman

“Weird and disturbing, like any work of genius, this novel haunted me for the seven nights I spent reading it, and haunts me still. . . . The Book of Strange New Things is desperately beautiful, sad, and unforgettable.”—David Benioff

“A moving human drama disguised as a gripping science fiction tale. . . . Magnificently bold and addictive. . . . A book quite unlike any other I've ever read.”—The Sunday Times

“A profoundly religious exploration of inner turmoil.”Kirkus Reviews, starred review
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Excerpt

The Book of Strange New Things

1

Forty minutes later he was up in the sky.

“I was going to say something,” he said.

“So say it,” she said.

He was quiet, keeping his eyes on the road. In the darkness of the city’s outskirts, there was nothing to see except the tail-lights of other cars in the distance, the endless unfurling roll of tarmac, the giant utilitarian fixtures of the motorway.

“God may be disappointed in me for even thinking it,” he said.

“Well,” she sighed, “He knows already, so you may as well tell me.”

He glanced at her face, to judge what mood she was in as she said this, but the top half of her head, including her eyes, was veiled in a shadow cast by the edge of the windscreen. The bottom half of her face was lunar bright. The sight of her cheek, lips and chin--so intimately familiar to him, so much a part of life as he had known it--made him feel a sharp grief at the thought of losing her.

“The world looks nicer with man-made lights,” he said.

They drove on in silence. Neither of them could abide the chatter of radio or the intrusion of pre-recorded music. It was one of the many ways they were compatible.

“Is that it?” she said.

“Yes,” he said. “What I mean is . . . Unspoiled nature is supposed to be the ultimate in perfection, isn’t it, and all the man-made stuff is supposed to be a shame, just cluttering it up. But we wouldn’t enjoy the world half as much if we--man . . . that is, human beings . . .”

(She gave him one of her get-on-with-it grunts.)

“ . . . if we hadn’t put electric lights all over it. Electric lights are actually attractive. They make a night drive like this bearable. Beautiful, even. I mean, just imagine if we had to do this drive in total darkness. Because that’s what the natural state of the world is, at night, isn’t it? Total darkness. Just imagine. You’d have the stress of not having a clue where you were going, not being able to see more than a few meters in front of you. And if you were heading for a city--well, in a non-technological world there wouldn’t be cities, I suppose--but if you were heading for a place where other people lived, living there naturally, maybe with a few campfires . . . You wouldn’t see them until you actually arrived. There wouldn’t be that magical vista when you’re a few miles away from a city, and all the lights are twinkling, like stars on the hillside.”

“Uh-huh.”

“And even inside this car, assuming you could have a car, or some sort of vehicle, in this natural world, pulled by horses I suppose . . . It would be pitch black. And very cold, too, on a winter’s night. But instead, look what we’ve got here.” He took one hand off the steering wheel (he always drove with both hands laid symmetrically on the wheel) and indicated the dashboard. The usual little lights glowed back at them. Temperature. Time. Water level. Oil. Speed. Fuel consumption.

“Peter . . .”

“Oh, look!” Several hundred meters up ahead, a tiny overburdened figure, standing in a puddle of lamplight. “A hitchhiker. I’ll stop, shall I?”

“No, don’t.”

The tone of her voice made him think better of challenging her, even though they seldom missed an opportunity to show kindness to strangers.

The hitchhiker raised his head in hope. As the headlights enveloped him, his body was--just for an instant--transformed from a vaguely humanoid shape into a recognizably individual person. He was holding a sign that said HETHROW.

“How strange,” said Peter, as they zoomed past. “You’d think he’d just take the Tube.”

“Last day in the UK,” said Beatrice. “Last chance to have a good time. He probably used up his British money in a pub, thinking he’d keep just enough for the train. Six drinks later he’s out in the fresh air, sobering up, and all he’s got left is his plane ticket and £1.70.”

It sounded plausible. But if it was true, then why leave this lost sheep in the lurch? It wasn’t like Bea to leave anybody stranded.

He turned toward her darkened face again, and was alarmed to see teardrops twinkling on her jaw and in the corners of her mouth.

“Peter . . .” she said.

He took one hand off the steering wheel again, this time to squeeze her shoulder. Suspended over the highway up ahead was a sign with a symbol of an aeroplane on it.

“Peter, this is our last chance.”

“Last chance?”

“To make love.”

The indicator lights flashed gently and went tick, tick, tick, as he eased the car into the airport lane. The words “make love” bumbled against his brain, trying to get in, even though there was no room in there. He almost said, “You’re joking.” But, even though she had a fine sense of humor and loved to laugh, she never joked about things that mattered.

As he drove on, the sense that they were not on the same page--that they needed different things at this crucial time--entered the car like a discomfiting presence. He’d thought--he’d felt--that yesterday morning had been their proper leavetaking, and that this trip to the airport was just . . . a postscript, almost. Yesterday morning had been so right. They’d finally worked their way to the bottom of their “To-Do” list. His bag was already packed. Bea had the day off work, they’d slept like logs, they’d woken up to brilliant sunshine warming the yellow duvet of their bed. Joshua the cat had been lying in a comical pose at their feet; they’d nudged him off and made love, without speaking, slowly and with great tenderness. Afterward, Joshua had jumped back on the bed and tentatively laid one forepaw on Peter’s naked shin, as if to say, Don’t go; I will hold you here. It was a poignant moment, expressing the situation better than language could have, or perhaps it was just that the exotic cuteness of the cat put a protective furry layer over the raw human pain, making it endurable. Whatever. It was perfection. They’d lain there listening to Joshua’s throaty purr, enfolded in each other’s arms, their sweat evaporating in the sun, their heart-rates gradually reverting to normal.

“One more time,” she said to him now, above the engine noise on a dark motorway on the way to the plane that would take him to America and beyond.

He consulted the digital clock on the dashboard. He was supposed to be at the check-in counter in two hours; they were about fifteen minutes from the airport.

“You’re wonderful,” he said. Perhaps if he pronounced the words in exactly the right way, she might get the message that they shouldn’t try to improve on yesterday, that they should just leave it at that.

“I don’t want to be wonderful,” she said. “I want you inside me.”

He drove for a few seconds in silence, adjusting quickly to the circumstances. Prompt adjustment to changed circumstances was another thing they had in common.

“There are lots of those horrible corporate hotels right near the airport,” he said. “We could rent a room just for an hour.” He regretted the “horrible” bit; it sounded as though he was trying to dissuade her while pretending not to. He only meant that the hotels were the sort they both avoided if they possibly could.

“Just find a quiet lay-by,” she said. “We can do it in the car.”

“Crisis!” he said, and they both laughed. Crisis was the word he’d trained himself to say instead of Christ, when he’d first become a Christian. The two words were close enough in sound for him to be able to defuse a blasphemy when it was already half out of his mouth.

“I mean it,” she said. “Anywhere will do. Just don’t park in a place where another car’s likely to run into the back of us.”

The highway looked different to him now, as they drove on. In theory it was the same stretch of tarmac, bounded by the same traffic paraphernalia and flimsy metal fences, but it had been transformed by their own intent. It was no longer a straight line to an airport, it was a mysterious hinterland of shadowy detours and hidey-holes. Proof, once again, that reality was not objective, but always waiting to be reshaped and redefined by one’s attitude.

Of course, everybody on earth had the power to reshape reality. It was one of the things Peter and Beatrice talked about a lot. The challenge of getting people to grasp that life was only as grim and confining as you perceived it to be. The challenge of getting people to see that the immutable facts of existence were not so immutable after all. The challenge of finding a simpler word for immutable than immutable.

“How about here?”

Beatrice didn’t answer, only put her hand on his thigh. He steered the car smoothly into a truckstop. They would have to trust that getting squashed flat by a 44-ton lorry was not in God’s plan.

“I’ve never done this before,” he said, when he’d switched the ignition off.

About the Author

Michel Faber
Michel Faber has written seven other books, including the highly acclaimed The Crimson Petal and the White, The Fahrenheit Twins and the Whitbread-shortlisted novel Under the Skin. The Apple, based on characters in The Crimson Petal and the White, was published in 2006. He has also written two novellas, The Hundred and Ninety-Nine Steps and The Courage Consort, and has won several short-story awards, including the Neil Gunn, Ian St James and Macallan. Born in Holland, brought up in Australia, he lives in the Scottish Highlands. More by Michel Faber
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