Beatrice and Virgil By Yann Martel, Text Publishing, $32.95 In a small room as white and brightly lit as an operating theatre, an antlered creature stands at bay, a beautiful commodity, a thing. Encrusted with large balls of acrylic and tiny crystal beads, it sparkles like a prize from a rich person’s treasure trove, a vision of the future. Not until you stand close and peer deep into the acrylic lenses at the magnified whorls of delicate brown and gingery hair does the taxidermied elk beneath reveal itself. This statement about manmade annihilation, by Japanese sculptor, Kohei Nawa, in Brisbane’s APT6 , is all the more powerful, it seems to me, because we have to do the work ourselves. He does with optics and silence what Yan Martel’s new novel seeks to do with words. Beatrice and Virgil, with its multiple vantage points, is a novel as much about the struggle to find the right words as it is about their meanings, words for the desperately difficult task, beset by taboos, which Martel embarks on knowing full well the risks. Beatrice and Virgil has two central animal characters who died a long time ago and two human characters both called …
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