Saint Domingue thus stands at a crossroads,
of sorts, as Master of the Crossroads (Bell's second volume
in a projected trilogy) begins in 1793, with slavery / freedom
and colony / independent state as the opposing points. But the
black general Toussaint Louverture, the novel's hero, is equally
at a crossroads as he considers shifting his allegiance from
Spain to France, and his rise to power in the course of the novel
marks his own mastery of the crossroads and his role as the person
who opens the gate to Saint Domingue's new future ('L'ouverture,'
of course, means 'opening'). There is also a vodou connection
to the crossroads theme, although Bell allows it only to float
suggestively through the text: Legba is the Vodou god of the
crossroads and change (he "opens the world of spirits and
dead souls to the world of living people," as Bell writes),
and Bell has suggested in interviews (again without stating it
explicitly in the novel) that he considers Toussaint himself
to have embodied both Legba and his more violent, demonic aspect,
Mait' Kalfou ('Master of the Crossroads').
Even without the vodou associations, Toussaint
is a moving, tragic figure who makes a perfect subject for extended
consideration in both fiction and nonfiction: a former slave,
he rose through military victories to serve as the colony's Lieutenant
Governor (a position in the colonial hierarchy that no other
nonwhite person had achieved) as well as its moral leader, only
to be defeated by Napoleon's army and find himself imprisoned
in a fortress in the French Alps less than a decade after he
declared himself 'Louverture' and threw his military weight behind
France. While he doesn't completely demystify and explain away
all of Toussaint's complexities ("Toussaint's mind was like
a mirror in a lightless room, and no one knew whence came the
light that gave it clarity"), Bell has done beautiful work
in presenting those complexities as believable, legitimate psychological
constructs that defy easy deciphering, which is no mean feat
for an historical novelist so far removed from his subject by
time and culture.
Toussaint isn't the only strong character
in Master of the Crossroads, though. Bell presents a wide
spectrum of beautifully realized characters--some historical,
some fictional--which may reach its broadest span with Antoine
Hébert (Toussaint's idealistic surgeon as well as his
sometime secretary) and Riau (a black captain in Toussaint's
army and a vodou practitioner). Riau's voice was probably the
most difficult for Bell to capture, since he's so remote to Western
readers (and writers), and Bell's success with him is indicative
of what may be his greatest accomplishment in a remarkably accomplished
novel: primarily through well-rounded characters (a novelist's
best weapon), he suggests the multifaceted complexities of a
distant culture whose political, social and racial realities
were as diverse as they are now remote.
Of course, while Master of the Crossroads
ends in 1802 with Toussaint's power consolidated, the ideals
of the revolution were not long realized. But Bell suggests,
most brightly, that through it all, a few characters manage to
turn the hellish experiences around them into a catharsis of
sorts, to see it as an inner reckoning that forces them to redress
their own past wrongs and realize the misguidedness of their
vengeful natures. Without a doubt, Master of the Crossroads,
like All Souls' Rising, has its fair share of shocking
violence; indeed, it is something at which Bell seems especially
talented. But for all the violence, the effect is not stultifying.
While some scenes are merely harshly brutal (like the one in
which a particularly unpleasant character is eviscerated by a
sword shoved through his buttocks to his throat), others are
mesmerizingly frightening because they merely shimmer with the
potential for violence, as when a procession of blacks
appears from the forest to reclaim the remains of a murdered
slave:
As Maillart reached for his gourd of rum,
he heard a drum beat slowly, four deep, throbbing beats. Then
the hush resumed. From the trees came a procession of men and
women, who moved toward the shed with rhythmic, swaying steps.
It seemed that Guiaou was among them, or at least the captain
recognized his shirt, but Guiaou had a different gait, a different
manner, as if he'd been transfigured. When the singing began,
that deep-throated voice made of many joined together, the fine
hairs stood to attention on Maillart's forearms and the back
of his neck. Drawing near the shed, the procession broke up into
those bewildering spiral patterns that so often terrified the
captain in ambush situations, yet now the movement was graceful,
delicate and gentle, like ink diffusing into water.
After the bones are retrieved, the plantation
owner throws rum onto the shed's walls and sets it on fire, and
as Bell writes, "There could not have been enough rum to
justify the effect, but the whole shed went up all at once like
fire from a volcano." This is indeed splendid writing that
nicely demonstrates the advantages a strong novelist can have
over the historian, but it isn't the most electric scene in the
novel, I think. The scene in which Bell presents a duel between
Doctor Hébert and his lover's mesmeric kidnapper is truly
a transcendent accomplishment, and its lingering visual and mystical
resonance is shockingly powerful.
While Master of the Crossroads can
be read alone, Bell's intentions are so clearly epic--combined,
the first two volumes run to over twelve hundred pages--that
the trilogy begs our close and complete attention. These are
stunningly good, dense novels of lasting importance, and as far
as I can see, they achieve everything they set out to accomplish.
Editor's note: Readers looking for other
historical novels reviewed in WAG's pages might consider
Thomas Mallon's Two Moons (click here for our review), David Ball's Empires
of Sand (click here
for our review), and David L. Robbins's The War of the Rats
(click here for our review)
and The End of War (click here for our review). Among nonfiction history,
Alexander McKee's Wreck of the Medusa (click here for our review) might be particularly
attractive to readers interested in early 19th century French
history.
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