Jack Faust

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Unlike the classic Mephistopheles, the seductive demon who approaches Swanwick's Johannes Faust is not the devil as we know him, but rather a representative of a mysterious race that seeks nothing less than the extermination of the hated human animal. And the wisdom this creature offers the disenchanted thinker goes far beyond anything known or imagined in Goethe's day: the secrets of flight and the cosmos, the principles of economics and engineering, the mysteries of medicine and the atom. And so begins Faust's ...
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New York 1998 Softcover First Avon Trade Paperback Printing. 337 pages. Softcover. Good condition. FICTION. A classic tale is revisited-its power renewed and consequences ... dazzlingly, devastatingly reexamined-by a contemporary literary artist without peer. (Key Words: Fiction, Faust, Germany, Michael Swanwick, Wittenberg, Scholar). Read more Show Less

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Overview

Unlike the classic Mephistopheles, the seductive demon who approaches Swanwick's Johannes Faust is not the devil as we know him, but rather a representative of a mysterious race that seeks nothing less than the extermination of the hated human animal. And the wisdom this creature offers the disenchanted thinker goes far beyond anything known or imagined in Goethe's day: the secrets of flight and the cosmos, the principles of economics and engineering, the mysteries of medicine and the atom. And so begins Faust's transition from madman to savior - from Johannes to Jack - as he accelerates human progress at blinding speed, setting the mighty gears and pistons of industry in motion to first remake Germany, and then all Europe, in his own image. Ushering in a New Age of Mechanization hundreds of years before its rightful time, he is alternately adored and despised for his accomplishments, as he attempts to elevate humankind from the muck of ignorance, superstition and disease. Yet it is love that damns Jack Faust and, ultimately, humanity as well. For Mephistopheles has revealed to him the beauty and purity of innocence in the person of Margarete Reinhardt, the daughter of a struggling businessman. To win her heart, Faust will give Margarete power and influence in an age when women are powerless - and fame in a time when notoriety can be fatal - and, in the process, blind his beloved, and himself, to the horrors Faust's "progress" has wrought.
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Editorial Reviews

Publishers Weekly - Publisher's Weekly
Set in Wittenberg, Germany, on the eve of the 19th century, Swanwick's vivid, off-kilter retelling of an immortal tale opens with Faust burning his books in frustration at his own ignorance, trapped in a time and in a city where things were done "by magic." Faust accepts Mephistopheles's offer of infinite and absolute knowledge. The knowledge he is given, however, is far more technological and overtly dangerous than he imagined. Isolated because of his untimely ideas, Faust has no companion except Mephistopheles. He accepts the devil's offer to see women naked, falls in love at the sight of virginal young Margarete Reinhardt, and is willing to do anything to win her. Faust approaches Margarete's father with get-rich-quick schemes, and essentially becomes a businessman instead of a scholar, learning that the best way to sell inventions is by applying them to military ends. Thus, in the name of love, Faust sets the world into a downward spiral of greed and war. Among other things, Faust's fall from grace results in mass production, corporations, movies, chemical weaponry, bombs and airplanes. The real agent of the destruction here, however, is woman. Adopting a curiously harsh, antiquated view of the faithlessness and rapaciousness of the female sex Margarete becomes cynical and promiscuous, Swanwick portrays a Faust undone not by excess ambition, but by too much love. Intriguing and unsettlingthe dialogue is 20th-century vernacular, as are many of the central issues, including abortionthis contemporary update of a classic story, by the end, becomes a comment on our culture's terror of those feelings and sensations not ruled by the intellect. Sept.
Library Journal
In this reworking of the Faust legend by a Nebula Award-winning author for Stations of the Tide, LJ 2/15/91, the medieval and the modern intertwine, but the classic theme remains intact: Will complete knowledge bring about ennoblement or destruction? Swanwick's Faust is still set in the Old World Europe of Goethe and Marlowe, but this Faust is more interested in marketing his new inventionssuch as rocketsthan in alchemy. We follow Faust in his frustrated intellectual quest, especially as he burns his library, which, instead of revealing to him the knowledge he has so desperately sought, has rewarded him only with uncertainty. At war with God for concealing life's meaning from humankind, he turns to the only other source of help for him: Mephistopheles. Swanwick's literary power lies in his ability to blend seamlessly elements of fantasy with the most mundane concepts. His characterizations are carefully controlled. Readers will benefit by delving into the original Faust before tackling this grim tale.Margaret A. Smith, Grace A. Dow Memorial Lib., Midland, Mich.
Hank Wagner
Medieval scholar Johannes Faust is frustrated, having gone as far as he can in his pursuit of knowledge. Enraged by his situation, he begins destroying his library, consigning dozens of precious tomes to the flames. He prays for release from his torment, pledging his soul in return for knowledge.

Enter Mephistopheles, a being from another dimension, who promises Faust the knowledge he longs for, requiring only that Faust must be attentive to his teachings, and that he accept the consequences of his newly gained intellectual wealth. Even after being told that his knowledge will bring mankind to ruin, Faust concludes Mephistopheles has to be wrong (how could knowledge be bad, after all?) and begs him for his insights.

The devil/alien grants Faust's wish and tragedy ensues. Faust's initial attempts to share his scientific advances with his fellow scholars are met with derision and scorn. It is only after he finds practical uses for them (like creating weapons of mass destruction) that people take notice. The increasingly misanthropic Faust ushers in the advances of the Industrial Age hundreds of years early, and, by book's end, seems destined to fulfill Mephistopheles dire predictions.

This dark, witty, sarcastic book is one of the best reads of 1997, a well written, engrossing alternate history/fantasy. While exploring his own themes, Swanwick also makes the point that Jack Dann made in his excellent novel The Memory Cathedral: that man, by nature, is a brutal creature, who, given a choice, will pervert the wonders of science. Unlike Dann's protagonist (Leonardo da Vinci), Swanwick's Faust is virtually blind to the mayhem he's created, and becomes the prime mover in humanity's inexorable march to extinction. Faust seeks to lift humanity out of the dark ages, but only hastens its descent. Swanwick seems to be reminding readers of the old adage, "Be careful what you wish for, because you may get it." Doing so, he provides a valuable, and extremely winning entertainment.
— darkecho.com

Kirkus Reviews
What if Faust in the 16th century had been offered the knowledge available in the 20th? Well, Swanwick (The Iron Dragon's Daughter, 1994, etc.) strives to outdo a couple of literary giants (Marlowe, Goethe) with this recasting of the familiar story. At the start of the 16th century, scholar Johannes Faust of Wittenberg burns his library in despair at the stupid lies the books contain. But then he strikes a bargain with Mephistopheles, a devil from another, higher-energy universe: In exchange for knowledge—which, Faust maintains, humanity will use to ennoble and perfect itself—Faust agrees that he will listen only to whatever Mephistopheles has to say (the devil's intention, plainly stated, is for humanity to exterminate itself). Faust's initial attempts to disseminate his new knowledge are rejected. Then, in Nuremberg, he determines to win the heart of the lovely and intelligent Margarete Reinhardt, while his moneymaking inventions are enthusiastically taken up by Margarete's industrialist father. Under Faust's guidance, an industrial revolution explodes across Germany—but, rejected again, Faust must flee to London, leaving Margarete to manage the business. Among other developments, the ironclad Spanish Armada sets sail, pitting German cannons against English rockets. Faust continues to drive science and technology forward, manipulating and betraying poor Margarete as mercilessly as he does everybody else.

A vivid and energetic reworking, set forth with all Swanwick's considerable skill. And yet the reader is constrained to ask, so what?

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Product Details

  • ISBN-13: 9780380790708
  • Publisher: HarperCollins Publishers
  • Publication date: 9/1/1998
  • Pages: 337
  • Product dimensions: 5.33 (w) x 8.06 (h) x 0.95 (d)

Read an Excerpt

Faust had no delusions of Heavenly aid. An involved and benevolent deity would have helped him long years ago when, young, he had yearned for knowledge as achingly as now and with far fewer stains on his soul. So. He must deal with realms or domains or powers that might be devils or spirits or creatures that were neither but something beyond his merely mortal comprehension.

Assuming such beings, they must necessarily be far beyond him, existing in realms unreachable by human effort. In his alchemical studies he had worked with athenors, alembics, and solutory furnaces, manipulating such mordants, caustics, and solvents as were employed in mining and in the dying of cloth. But he had also engaged in researches involving the exhausted bodies of prostitutes, both female and male, the sacrifice of animals, and the obscene deployment of stolen Communion wafers in black Masses and other unwholesome rituals. There were two traditions of alchemy, and he had sought out—and paid—exponents of each, not only metallurgists and assayes but wizards as well, mountebanks and teachers of the esoteric traditions, followes of Hermes Trismegistus and worshippers of Saint Wolf alike. And it was all flummery. He knew for a certainty that none of them were in contact with such allies as, he sought.

These allies, therefore, must locate Faust, for he could not contact them. Which meant that—denying the possibility of failure, for that was folly and despair—they must be already searching for him, for otherwise the contact could not be made. Therefore he possessed some thing or quality these beings or forces desired, be it worship or service or his very soul itself. There must be tenmillions of people in Europe alone. Beyond that? In Hind and Cathay and Araby, in Africa and the new Indies? Unimaginable numbers. What had he to offer that no one else in all these swarming legions had?

One thing only: that he was seeking them.

It took a rare man, a great man, to break free of the en crusted prejudices of his age, to cast his thoughts into the dark and silent regions where the minds of such allies awaited him. And awaited him anxiously. For surely a man such as himself was no unworthy prize.

If they were seeking one such as he, and their thoughts touched his in the dark, then he and they could strike a bar gain. He did not need the magical idiocy of diagrams or de vices, of nonsense syllables or implements with evil histories. There was no need even to leave the room. He could win all, achieve all, here and now. It required only an act of will. He had but to offer himself up.

A shiver—of anticipation or fear, he could not tell which—passed through Faust. The room felt unaccountably cold. Slowly, he spread his arms.

A book fell off the burning pile onto the hearthstone and, falling open, burst more furiously into flame. It threw up smoke like a black flare, but Faust did not stoop to retrieve it. He stood moving, wondering at his own abrupt and incomprehensible inability to act. He did not fear damnation. Nor did he give a fig for the common opinion of Mankind. There was nothing to stop him but fear alone—fear that his reason ing was wrong. Fear that the offering would prove him a failure.

For the briefest instant he stood irresolute.

"Here I am," Faust said convulsively. "I open myself to you." For his part, Faust knew, he would gladly worship demons, willingly give service to monsters unspeakable, if that were what they wanted. Eat filth, murder children—whatever they required, that would he do. Whatever the price, he would pay it.

The smoke swirled about him chokingly, dizzyingly. He could see nothing now, feel nothing. Afloat and lost in the grey smoke and ruin, Faust emptied his brain of all thought, all reasoning, all words, surrendering everything but ambition itself. He made himself first passive and then silent, ignoring the blacksmith-bellows pumping of his lungs, the tidal surge of blood in his veins, and finally the faint crackling that underlay thought itself, accelerating toward zero, until all that was left was unmediated will, and that will a hunger, an open mouth.

He stood reduced to his essence, an uncarved block of marble awaiting the carver's hand, a palimpsest scraped clean of old ink and ready for the quill, as eager for knowledge as tinder for the flame. The noise of the fire rose up in his ears in a babbling roar like a million voices all joined together into a white surf of sound, flooding his brain, drown ing the last semblance of reason. He fell into a perfect stillness.

Cycling ever quieter in perfect silence without expectations falling into a timeless state outside his control where human thought ceased and nothing existed nothing but the void and

From the heart of nothingness, a voice spoke: Faust.

Copyright ) 1997 by Michael Swanwick

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Interviews & Essays

There were three chief things I wanted to accomplish in Jack Faust. I wanted to write about damnation by science. I wanted to rescind the forgiveness Goethe extended Faust. And I wanted to give Margarete her own voice.

This last is essential. Goethe's Margarete is simply a marker of Faust's desire -- someone for him to suffer the anguishes of love and regret over. In my version, Margarete flirts with damnation, loses her soul, and ultimately regains it. Her redemption is the heart of the novel.

I've oversimplified furiously here -- no novel can be schematicized in a few hundred words -- but in essence, that's what I've tried to do. One thing I know, however: My Faust is far from being the last. Because it's also the nature of myth that it is a shape-changer and a shadow-shifter. As soon as you get it nailed down, it slips away again, to be something else for somebody new. And that's the way it ought to be.
—Michael Swanwick

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Customer Reviews

Average Rating 4.5
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Sort by: Showing all of 2 Customer Reviews
  • Anonymous

    Posted December 17, 1999

    A Very Good Read

    I've never read Goethe's Faust, but I have read Marlowe's. This book was very strong and entertaining, and does not actually sit in the real 'history' of the world. It instead creates its own, based on human nature. The only true flaw in this book is Gretchen, who begins as true and virtuous. Then she completely changes, quite inexplicably. Mephistopheles is not traditional, yet is none the less a truly evil character. This book is very rewarding if you can overcome its problems.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted December 28, 2010

    No text was provided for this review.

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