Wendt’s Black Rainbow, like Calvino’s Invisible
Cities, moves between fantasy and reality, thus making it less of a
travelling story and more of a mythical quest. The situation of the world is
not fully explained in the first half of the book – only that it was in some
kind of disarray and has been “saved” by some Orwellian World President. This
adds both depth and mystery to the narrator’s journey. Most significantly,
there is an emphasis on the connection between quest and memory since, in this
world, memory (or history/herstory) is far less secure than it is in reality.
Because the Tribunal and the Hunters have the ability to change or eliminate
histories as they wish, the narrator’s quest or “search” takes on a different
shape from that of the traditional traveler’s. Instead of beginning at Point A,
ending at Point B and retaining the observations from the journey, the
narrator’s contains a greater number of points jumbled in non-alphabetical
order. He must return to Point A, get off track, travel without knowledge of
his next move, and even wake up at a certain Point without any connection to or
familiarity with his environment.
These elements of fantasy both play
mind games on the narrator and affect the way he views his journey. When he
travels through or stops at new places he is observant, descriptive, despite
the fact that most people in his situation would allow the intricacies of the
places the visit to slip by unheeded and focus solely on the welfare of his/her
family. However, while it is true that one’s current mood affects the way they
view new things and places, it is also true that the world in which one has
grown up (or, in this case, to which he has become accustomed) shapes the way
he observes new elements. Therefore it seems that the narrator’s observations
are borne not out of a curious mood or disposition but due instead to the fact
that, as he knows only too well, that which he has experienced could be erased
at any moment, leaving his words as the only testament to it.
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