He wants her to shoot it in the same Abbey Road crosswalk made famous on the cover of the Beatles’ final album, but, while waiting for her, he steps off the curb and is hit by a Jaguar driven by a mysterious figure named Wolfgang. In 1988, before Saul Adler, a 28-year-old, London-based historian, leaves for a research trip to East Germany, he wants his girlfriend, Jennifer, to snap his picture. Only, instead of place, Levy’s magical mystery tour carries readers through two concurrent dimensions’ time. What Levy has created is the fictional equivalent to the principle of theoretical physics that holds a particle can exist in two places at once. Sebald, and, most recently, Nobel Laureate Olga Tokarczuk, the rigidity of plodding plots is at last shattering. Now, thanks to the technical adroitness of the magical realists and masters such as W.G. When artists in other mediums were eschewing conventional forms to create new modes of seeing and listening, the constraints of linear narrative kept writers hogtied to telling what happened next.
In her stunning new Man Booker-longlisted novel, The Man Who Saw Everything, Deborah Levy achieves what other authors have attempted but few have realized.
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