"A triumph and Patchett's best book yet"--Guardian
"Written with a wry grace and irony that reminded me of The Poisonwood Bible (another favourite). I like Patchett's Bel Canto--but I loved this"--Joanna Trollope, Sunday Telegraph
"It pulls you into the book, has you standing in the jungle in the heat and sweat, as realistic as any computer-generated trickery, genuinely wondering what might happen next... Just read it and be happy that such a writer as Patchett exists"--The Times
"Something special and worth considering for all the literary prizes, festivals and reading groups going this year... exhilarating"--Daily Telegraph
The most ambitious and mesmeric book yet from the Orange prize-winning author of Bel Canto.
SHORTLISTED FOR THE ORANGE PRIZE FOR FICTION 2012
There were people on the banks of the river.
Among the tangled waterways and giant anacondas of the Brazilian Rio Negro, an enigmatic scientist is developing a drug that could alter the lives of women for ever. Dr Annick Swenson's work is shrouded in mystery; she refuses to report on her progress, especially to her investors, whose patience is fast running out. Anders Eckman, a mild-mannered lab researcher, is sent to investigate.
A curt letter reporting his untimely death is all that returns.
Now Marina Singh, Anders' colleague and once a student of the mighty Dr Swenson, is their last hope. Compelled by the pleas of Anders's wife, who refuses to accept that her husband is not coming home, Marina leaves the snowy plains of Minnesota and retraces her friend's steps into the heart of the South American darkness, determined to track down Dr. Swenson and uncover the secrets being jealously guarded among the remotest tribes of the rainforest.
What Marina does not yet know is that, in this ancient corner of the jungle, where the muddy waters and susurrating grasses hide countless unknown perils and temptations, she will face challenges beyond her wildest imagination.
Marina is no longer the student, but only time will tell if she has learnt enough.
From the Author
Elizabeth Gilbert: As your close personal friend, I happen to know that you traveled to the Amazon to conduct research for this novel, and that you sort of hated the Amazon – can you share a little about that?
Ann Patchett: I absolutely loved the Amazon for four days. It was gorgeous and unfamiliar and deeply fascinating. Unfortunately, I stayed there for ten days. There are a lot of insects in the Amazon, a lot of mud, surprisingly few vegetables, too many snakes. You can’t go anywhere by yourself, which makes sense if you don’t know the terrain, but I enjoy going places by myself. I can see how great it would be for a very short visit, and how great it would be if you lived there and had figured out what was and wasn’t going to kill you, but the interim length of time isn’t great.
EG: Didn't I hear that you have a sort of magical story about a friend who is also a writer, who was also once going to write a book about the Amazon? Can you share this miraculous tale? Also, is your writer friend pretty?
AP: This friend of mine, who happens to be you, is gorgeous, and much taller in real life. Yes, you were writing a novel about the Amazon, and then you decided not to write a novel about the Amazon, and then I started writing a novel about the Amazon, and later when we compared notes (your book dismissed, mine halfway finished) they had remarkably similar story lines, to the point of being eerie. I thought this must be because it was an incredibly banal idea and we had both come up with a generic Amazon novel, but then you told me that ideas fly around looking for homes, and when the idea hadn’t worked out with you it came to me. If this is true I think your name should be on the cover. It would increase sales significantly.
EG: Readers of your prior work – particularly the luminous Bel Canto – will be delighted to see that opera makes an appearance in this novel as well. In fact, one of the most dramatic scenes in the book takes place at the opera. Is that a wink and a nod to loyal readers, or just an expression of your own deep and abiding musical passions?
AP: It’s a wink and a nod to Werner Herzog and his brilliant Amazon film Fitzcarraldo which opens at the opera house in Manaus where the aforementioned scene takes place. I had very little experience with opera when I wrote Bel Canto, and since then it’s become a huge part of my life. It was fun to write a scene set at the opera now that I know what I’m talking about.
EG: State of Wonder is a rollicking adventure story, full of peril and bravery and death-defying action. I personally know you to be a homebody who likes to bake muffins for neighbors. How the heck did you pull off this wildness so convincingly? Was it as invigorating to write as it is to read?AP: Ah, the life of the mind. All the adventure I need I can dream up in my kitchen. I love writing outside of my own experience, making imaginary worlds. If I wrote novels based on my own life I would not be making a living at this. I also love to write a strong plot. I want things to happen in my books, I want to be thrilled. I always think about Raymond Chandler. I’m sure I’m getting the phrasing wrong but the general idea is that when things get slow, bring in a man with a gun. If you can’t find a gun, a poison arrow works just as well.