From the acclaimed novelist and The Believer editor HEIDI JULAVITS, a wildly imaginative and emotionally intense novel about mothers, daughters, and the psychic damage women can inflict on one another.
Is the bond between mother and daughter unbreakable, even by death?
Julia Severn is a student at an elite institute for psychics. Her mentor, the legendary Madame Ackermann, afflicted by jealousy, refuses to pass the torch to her young disciple. Instead, she subjects Julia to the humiliation of reliving her mother's suicide when Julia was an infant. As the two lock horns, and Julia gains power, Madame Ackermann launches a desperate psychic attack that leaves Julia the victim of a crippling ailment.
Julia retreats to a faceless job in Manhattan. But others have noted Julia's emerging gifts, and soon she's recruited to track down an elusive missing person—a controversial artist who might have a connection to her mother. As Julia sifts through ghosts and astral clues, everything she thought she knew of her mother is called into question, and she discovers that her ability to know the minds of others—including her own—goes far deeper than she ever imagined.
As powerful and gripping as all of Julavits's acclaimed novels, The Vanishers is a stunning meditation on grief, female rivalry, and the furious power of a daughter's love.
|Publisher:||Knopf Doubleday Publishing Group|
|Product dimensions:||6.42(w) x 9.74(h) x 1.09(d)|
About the Author
HEIDI JULAVITS is the author of three critically acclaimed novels, The Uses of Enchantment, The Effect of Living Backwards, and The Mineral Palace. Her fiction has appeared in Harper's, Esquire, and The Best American Short Stories, among other places. She's a founding editor of The Believer magazine and the recipient of a Guggenheim Fellowship. She lives in Manhattan and Maine.
Read an Excerpt
The VanishersA Novel
By Heidi Julavits
DoubledayCopyright © 2012 Heidi Julavits
All right reserved.
The story I’m about to tell could be judged preposterous. Fine. Judge how you must. Protect yourself by scare-quoting me as the so-called psychic, the so-called victim of a psychic attack. Quarantine this account however you must so that you can safely hear it. What happened to me could never happen to you.
Tell yourself that. Even though what happened to me happens to people like you all the time.
In the beginning, an attack can look just like regular life. You wake to discover eyelashes on your pillow, bruises on your skin where you’ve never been touched. You smell a stranger on your bedsheets and that stranger is you.
As the weeks pass, you notice other humiliations. An unceasing bout of acid reflux and an irritable bowel. Gums that bleed when you sip hot tea. Fingernails that snap when you push your hands through the sleeves of a sweater. The ghostly withdrawal of pigmentation from your cheeks. A rash on your torso. A rash on your hands. A rash on your scalp.
And so it goes, your body’s hurtle along a failure trajectory that no doctor can explain. There is only the numb leg, the searing esophagus, the face—its frostbit complexion, its vinegar stare—you no longer recognize as your own.
I’m overworked and need to take more vitamins, you’ll tell yourself. Maybe I’m allergic to wheat or my new car. Maybe I’m depressed, or not enough in love anymore with my life, my spouse, my self. You’ll schedule beach vacations or more time at the gym, but no matter how many times you dunk yourself in oceans or flush the liquid content of your body through your pores, you can’t escape the suspicion that a cancer drifts through your anatomy, that it will soon metastasize to your personality, that it is only a matter of time before it breaches the cellular firewall encircling your soul.
When this happened to me, I did what people do: I saw my doctor. She sent me to another doctor. And he to another. I saw so many, many doctors. I was pricked and I was bled, I was leashed to computers, scanners, drips, I was MRI-ed, EEG-ed, and CT-scanned, my body subjected to a battery of lie detector tests that, because the claims it spouted were deemed inconclusive, it apparently did not pass. I acquired a medical file so thick it practically required its own gurney to be moved. I was greeted by each new specialist with a weary smile. I was patronizingly quoted Donne. (“There is no health. We, at best, enjoy but a neutrality.”) Because the doctors could not cure me, they decided I could not be sick.
They told me it was all in my head. Namely, I was to blame. I was the sickness.
Which I don’t deny. I brought this on myself. I failed to take the proper cares and cautions, I failed to live invisibly or wisely. Besides, don’t the healthy always suspect the afflicted? She drove herself to exhaustion. She was so stressed out. She never dealt properly with the death of her mother.
All of this is true. However. I cannot take all the credit. I say this humbly, not reproachfully. Someone else made me sick.
Let me explain this in terms you can understand. People make people sick, it is not a stretch to claim this. What remains up for debate is the degree of malice involved when a person makes another person sick. Did your sister, for example, intend to give you her head cold? In most cases, not. We do not blame head colds on other people’s heads, we blame them on their bodies.
But what if your sister or girlfriend or roommate or coworker intended to give you a cold? What if, while you were in the bathroom, he or she coughed on purpose into your water glass?
And what if we’re not referring to people as carriers of disease but people as diseases? The self is a source of contagion, oftentimes an unwitting one. He makes me sick, you’ve said of your ex-boyfriend. She’s toxic, you’ve said of your boss.
And maybe he did, maybe she is. After you become afflicted, after the doctors finger you as the cause, it’s instinctual to blame others for your physical misfortune. But blame is lonely, and your loneliness is compounded by the fact that you’re scared to go outside. To be near others is to risk further exposure and, worse, humiliation. Even your best friend can’t help staring at the sores on your mouth.
In retaliation, to preserve whatever small amount of pride you still possess, you become the secret curator of the suffering of others. Homebound now, you do online searches for people from your past. You’re pleased to discover that your college roommate’s looks have been lost, that a former coworker’s start-up went bankrupt, that an ex-girlfriend’s Broadway dreams did not pan out. You spend your days monitoring demises. You become, over time, the connoisseur of downfall, a covert expertise that distracts you from your own decline.
You might realize, as I realized, that there exists one individual whose downfall over which you fixate, even obsess. For me that individual was a woman named Dominique Varga. She was a mother to me when no one else wanted the job. My own mother killed herself a long time ago. But your obsession might be a basketball coach, a softball coach, a graduate TA, a personal accountant, or a special, unlucky stranger you choose at random, as though from a police lineup, and falsely accuse. Why be fair? Nobody’s been fair to you. Monitoring this person’s disappointments functions as a course of steroids might, each new failure for her registering as an improvement for you. Her marriage implodes, your rash subsides. The economics of revenge. Your stock rises as hers declines. Perhaps you befriend her, and send the occasional e-mail. Otherwise you watch and harmlessly wait for your fortunes to reverse.
But what if you are not the only victim here? What if your daily online visits to this person whose ruin you’ve charted are not so benign? What if you are not a spectator to her demise? What if you’re to blame for her shitty life?
What if you are her disease?
In other words, this is not just a story about how you can become sick by knowing other people. This is a story about how other people can become sick by knowing you.
The attack, we later agreed, occurred at Madame Ackermann’s forty-third birthday party.
The evening was typical for late October—icebox air, onyx sky, White Mountains humped darkly in the distance, and peripherally visible as a more opaque variety of night. Because I knew that Madame Ackermann’s A-frame would be underheated, I wore a wool jumper and wool tights and a pair of silver riding boots purchased from the Nepalese import store, run by an aging WASP hippie. Hers was one of seven businesses in the town of East Warwick, New Hampshire (there was also a vegan pizza parlor, a hardware store, a purveyor of Fair Isle knitwear, a bank, a pub, and a real estate agent), a town that existed in the minds of some to provide basic material support to the faculty and students at the Institute of Integrated Parapsychology—referred to locally, and by those in the field, as the Workshop.
That I—Julia Severn, a second-year initiate and Madame Ackermann’s stenographer—had been invited to her forty-third birthday party was an anomaly that I failed to probe. When I let slip to my stenographic predecessor, Miranda, that I had been asked to Madame Ackermann’s for a social occasion, Miranda tried to hide her wounded incredulity by playing with the pearl choker she habitually wore and, in apprehensive moments such as these, rolled into her mouth, allowing the pearls to yank on the corners of her lips like a horse’s bit.
Madame Ackermann observed a firm boundary between her academic and personal lives, Miranda said, removing her pearls halfway, wedging them now into the recession above her chin.
She was not the kind of professor, Miranda cautioned, straining her necklace’s string with her lower jaw until it threatened to snap, to invite an initiate to her house for a social occasion, not even as a volunteer passer of hors d’oeuvres.
Miranda’s jealousy was understandable. Madame Ackermann’s attentions were the prize over which we initiates competed, the reason we’d come to the Workshop—to study with her, hopefully, yes, but in more pitiable terms to partake of her forbidding, imperial aura by walking behind her on the many footpaths that vivisectioned the campus quad into slivers of mud or grass or snow.
Thus, I reassured Miranda (who, despite the year she’d spent as her stenographer, clearly did not know Madame Ackermann), one of the many admirable qualities Madame Ackermann possessed was that, even as a relentless investigator of past lives, she could permit bygones to be bygones. Yes, she’d selected me, from a pool of thirty-five initiates, to be her stenographer, and yes we’d both immediately come to regret this choice of hers. But after weeks of misunderstandings, deceptions, and hostilities between us, Madame Ackermann was not above extending an olive branch.
And so on the night of October 25 I donned my silver boots and, awash in optimism and specialness, drove to Madame Ackermann’s A-frame. As I passed the custodian-lit Workshop buildings, their windows flickering behind the spruces, I allowed myself to view the scene from the future perspective of an older self, wrought by nostalgia for this place I’d yet to leave or miss. In order to prolong my anticipation of what was sure to be a momentous evening, I took the scenic way along the Connecticut River; in the moonlight, the water, whisked to a sharp chop by the wind, appeared seized into a treacherous hoar of ice. I spied a hunter emerging from an old barn whom I mistook, for the shadowy half second before my car beams illuminated him, to be wearing the decapitated head of a deer. A bat died against my windshield. And yet despite these dark portents I somehow failed to divine, as I turned off the river road and began the slow ascent to Madame Ackermann’s A-frame, that I would never drive along this river again. Or that I would drive along this river again, yes, but I would no longer be the sort of person who wore silver boots to parties and believed that bygones could be bygones.
Madame Ackermann greeted me at the door, eyes starfished by mascara, hair a slab of polished obsidian against the puffball white of her sweater, and dropped my birthday present—a warm bottle of Tokay—on a credenza beside the pile of regifted chutneys and spice rubs from her colleagues. Then she led me to her great room, an inverted-V-shaped atrium lined with book shelves (the books secured by a series of crisscrossing bungee cords), packed with her friends and coworkers, the majority of them men.
In retrospect: I should have found it odd, given she’d presumably forgiven me, that she should refuse to meet my gaze, that she should take the first available opportunity to slough me onto the other guests.
“You know Julia,” she said, shoving me into a trio of professors, all of whom, though I’d studied with each at one point or another, regarded me blankly. “She’s my archivist.”
The trio (Professors Blake, Janklow, and Penry) resumed their discussion of the death of a Workshop professor named Gerald, their eyebrow hairs antenna-like as they derisively extolled Gerald’s virtues.
“Archivist,” Professor Blake said to me. He pronounced archivist with a judgmental inflection.
“Stenographer,” I clarified, “is the original service she hired me to perform.”
I did not mention the word demotion. I’d been hired as her stenographer, true, but I’d recently been demoted to the position of archivist.
I glanced at Madame Ackermann to see if she’d heard me; I didn’t want to appear to be contradicting her in public, especially now that our relationship was presumably on the mend. She was preoccupied, fortunately, by the sight of Professor Elkin huddling with Professor Yuen behind a kentia palm. Professor Yuen wore her hair in two long braids that narrowed to tips like floppy knives; she spoke to Professor Elkin about a topic that required her to bullet-point the air with an index finger, no doubt something to do with the recent dissolving of the Princeton Engineering Anomalies Research laboratory, and whether its failure sounded a death knell for the Workshop’s future prospects as well.
“Ah,” said Professor Janklow. “Stenographer.” He held between his thumb and forefinger a half-eaten shrimp. He eyed the goblet of cocktail sauce on the table beside him, clearly wondering if he could dip his shrimp a second time without being spotted, or calculating the amount of time one must wait to ensure that the same-shrimp dips are no longer seen as consecutive acts, but as two unique events.
“Samuel Beckett was James Joyce’s stenographer,” I said.
“Secretary,” said Professor Janklow.
“Did you ever study with Gerald?” asked Professor Blake. “Before he died, I mean?”
“In fact that’s a myth about Beckett,” said Professor Penry.
“Couldn’t make a martini to save his life,” said Professor Janklow. “Gerald wasn’t a fellow who could grasp the subtler requests such as whisper of vermouth.”
“Poor Gerald,” said Madame Ackermann, returning to our fold. I suspected it from her insincere tone: she had slept with the man.
“You, however,” said Professor Janklow, presenting his empty martini glass to Madame Ackermann, “are all subtlety and whispers.”
Madame Ackermann twisted downward on her sweater’s cowl neck to reveal a turquoise filament of bra and a décolletage dotted by pale moles. This gesture was meant to suggest that she was embarrassed by the compliment, while also suggesting that she was not remotely embarrassed by it. No one, least of all me, would deny that Madame Ackermann, even at the dawn of forty-three, was a bewitching, pixie creature, girlish the term most often used to describe her mixture of naïveté and wiliness, her middle-parted night hair and Eva Hesse Bavarian élan, her habit, during class, of placing one foot on her chair and resting her chin atop a corduroyed knee. She’d preserved her body, or so it seemed, through sheer force of mind. The suppleness of her gray matter—I’m ashamed to admit that I’d imagined how it would feel to the touch—was reflected in the pearly suppleness of her eyes, her hair, her skin.
We were all of us—the female initiates more than the male ones—in some form of love with her. (The fact that Madame Ackermann so closely resembled my dead mother did not render my obsession with the woman any less complicated.)
And thus we tried, as girls in confused love with women will do, in every superficial way to mimic her. We were rapt apprentices of the twisted cowl neck, the peevish cuticle nibble, the messy, pencil-stabbed chignon. We purchased cardigans in yellowed greens and tarry mascaras, we blended our own teas and sewed them into tiny muslin bags that we steeped in chunky mugs and carried with us to class, our socked feet sliding, like hers, atop the wooden platforms of our Dr. Scholl’s sandals. We also slept around. We slept with everyone, but only once. We were, we told our- selves in moments when we felt most pathetic and unmoored, not just imitating Madame Ackermann, we were embracing the culture of the Workshop—the disloyalty, the distrust, the refusal to be known for fear of what people might actually come to know about you.
It was a lonely time.
Excerpted from The Vanishers by Heidi Julavits Copyright © 2012 by Heidi Julavits. Excerpted by permission of Doubleday, a division of Random House, Inc.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
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What People are Saying About This
“Darkly comic. . . . Sharp-eyed, sardonic, hilarious. . . . Julavits is at her acrobatically linguistic best. . . . Remarkable.”
—The New York Times Book Review
“It is always an adventure and a delight to read Heidi Julavits. Her intellectual brio and descriptive inventiveness are on full display in The Vanishers, but she’s gone further this time by inventing a new genre: the astral detective thriller.”
—Jennifer Egan, Pulitzer Prize–winning author of A Visit from the Goon Squad
“An absorbing meditation on female competition with Hitchcockian twists. . . . Gripping.”
“Part coming-of-age story, part murder mystery, part absurdist romp, part neurological novel. . . . . Julavits’ characters are as earnestly bizarre as Haruki Murakami’s, and she’s as funny as Lorrie Moore.”
—San Francisco Chronicle
“Sharply original. . . . Stylish and fiercely funny. . . . A wild, fun ride that doesn’t let up until the last sentence. . . . Julavits is a fearlessly inventive writer.”
“Julavits is a keen observer of the high drama. . . . An evocative writer, she conjures up the supernatural in a way that feels plausible. . . . Haunting.”
“The protagonist . . . could join the ranks of literature’s most unreliable narrators, alongside Humbert Humbert and Huck Finn.”
—Wall Street Journal
“Themes of loss, reinvention and the ways women build each other up and tear each other down . . . run through The Vanishers. But Julavits balances the emotional vertigo with sharp wit. . . . Like a dream, it’s never anything but intriguing.”
—The Seattle Times
“Julavits has a questing, eclectic intellect. . . . She creates a sophisticated symmetry in the final surprising moments of Julia’s story, and, as if in an encore, adds an adroit comic flip at the end.”
—The Boston Globe
“A fascinating inquiry into matriarchal structures: their power struggles, the projections, distortions, and anxieties that result, and, above all, the creative—and destructive—energies that they unleash. A real achievement.”
—Tom McCarthy, author of Remainder and C
“Thrilling, subversive insights. . . . Powerful in many ways. . . . On the subject of loss in particular, Julavits is an expert, writing with eloquence and poetry.”
—The Philadelphia Inquirer
“Bristling with wicked humor and sharp-edged irony, The Vanishers explores the ways in which the dead can haunt the living and the often painful persistence of memory.”
“A blistering read. Female aggression may lurk everywhere, but Julavits decides to unleash her antagonists in a quirky realm, the fictional Institute of Integrated Parapsychology, a New Hampshire school for students of the occult. . . . If you’re lucky, you have one brazen friend who can mesmerize the room with a wild story. If you’re not, The Vanishers will provide a similar jolt of transgressive, feminine thrill.”
—The Plain Dealer
“Julavits is no ordinary writer, and the meta-heavy brilliance of her fourth novel is something akin to a Sylvia Plath poem transferred telepathically to a psychic who happens to be solving a missing-person’s case while being film-followed by artist Sophie Calle.”
“Fantastic, deep and complicated. . . . Explores the way loss, disappointment, anger, deception and trauma can bleed down from generation to generation. . . . A complicated, often troubling meditation on the complexities of relationships.”
—The Boston Phoenix
“Clever. . . . Funny, affecting. . . . Julavits has imagined an ambitious world that reveals the depths of the matriarchal power structure. . . . At the same time, [she] does some clever twisting to the classic revenge plot. . . . Satisfying in all its attempts as a robust mystery, satire of academia, and finicky family drama.”
“One of the best novels I’ve ever read, delivering all the immediate pleasures of mystery, horror, and satire while exploring grief in language that is as shocking for its originality as its precision. Julavits takes readers on a wild ride that hops continents and decades, but the real setting of The Vanishers is the gray territory between sickness and health, sanity and delusion, love and hatred, life and death.”
—Karen Russell, author of Swamplandia! and St. Lucy’s Home for Girls Raised by Wolves
Most Helpful Customer Reviews
It sounds cliche to say that a book hooks you with it's first sentence, but in this case it couldn't be more true. I actually whispered the word "wow" when I finished the intro. Though this is a beautiful, engaging book, it is also quite complicated. I totally loved the idea of the psychic attacks that Julie is subjected to and doles out. The language and writing is superior to so many other books I have read lately. Julie's voice was so pitch-perfect. I found myself looking up to her perfectly witty and punchy responses. Madame Ackerman was spellbinding, and I wanted to see more of her. I wanted to know her back story! Spin-off book, perhaps? Still, there were a few places where I struggled. There are no chapters in the book, just four section breaks. This made the book feel both too open and far to closed, all at the same time. There were clear markers where chapters could have been broken down. The four sections were different enough, but I often find it difficult to read books without chapters. If I step away for any longer period of time, it is very difficult to get back into the flow of things. If you pick this book up, be sure to give it your undivided attention, and you will be rewarded with a story that will stick in your brain for many months to come.
Psychics and metaphysical time travel still couldn't make this book remotely interesting. I forced myself to finish reading this book, and regret the 3 days I wasted reading it.
Pretentious. Leads nowhere slowly with lovely prose to fool you into thinking you're getting somewhere.
Boring, bizarre.......the worst read in the last 20 books I have read.
Perhaps I was in the wrong state of mind, but I simply had trouble losing myself in this book. The characters did not grab me, and although the story seems like it would be an interesting one, when it came down to it I simply could not engage. I got about a third of the way through and I'm going to set it aside for now. May come back to it at another time.
Julia Severn is coming to grips with her non-relationship with her mother who committed suicide when Julia was just one month old. Julia's father has not shared much information about her mother's personality, in part because he believes Julia can find and has found out anything she wants to know with her psychic abilities. However, Julia's mother's spirit refuses to let Julia intuit anything at all.After leaving the Institute of Integrated Parapsychology aka the Workshop (somewhat in disgrace) and becoming progressively more physically ill to the point that she is basically a hermit, Julia meets Alwyn at work. Alwyn suggests that Julia's illness is not physical, but a psychic attack, and offers her a job opportunity that would benefit them both.I was confused through a lot of this book because Julia was not necessarily reliable as the narrator; she was confused herself. Even though Julia is psychic and able to travel to other times and situations to divine information, she can't "read" the people she interacts with in order to know who to trust. That could be because she is sick, but I think she isn't good at that before she is psychically attacked.The wording in this novel is way out there. The characters and narrator use such odd language, but for some reason it works. The Vanishers was a quick read and I liked it. This was another book that I picked up at the library because I liked the bright colors on the cover. I will definitely be looking for another book by Heidi Julavits.
A convoluted supernatural plot can¿t compete with out of this world proseI¿m one of those reviewers who tends to start with a plot summary. So, I could tell you that this is the story of twenty-something Julia Severn, an ¿Initiate of Promise¿ at the Institute of Integrated Parapsychology. The novel begins by detailing Julia¿s complex and troubled relationship with her mentor, Madame Ackerman. Their problems may stem from the mentor¿s fear of being supplanted by the protégé, or perhaps they¿re due to Ackerman¿s resemblance to Julia¿s mother who committed suicide when Julia was an infant. For these reasons (and others), things sour, but their separation plagues Julia physically. She leaves school and spends the next year seeking a medical explanation for her physical decline. None is forthcoming until an odd girl literally trips into her life and explains that she¿s under ¿psychic attack.¿ Offers of both help and employment are proffered.And that¿as they say¿is just the beginning. The plot of this novel felt like a game of Three Card Monty, with constantly shifting character identities and allegiances. I didn¿t read this novel because the description of the plot interested me. Ghosts, psychics, astral projections? Definitely not my cup of tea. However, a book about mother-daughter relationships and other female rivalries? Now you¿re talking! And that¿s very much what Heidi Julavits delivered. The whole psychic thing was merely the backdrop against which every type of mother-daughter drama imaginable was displayed.And all this talk of ¿drama¿ sounds dramatic, and some of it was. But a lot of it was very, very funny. And even more of it was weird. And some of it was just plain confusing. I stand by my Three Card Monty analogy. But through it all was Heidi Julavits¿ sparkling language. So much of language is merely functional. And, sure basic communication is a good goal. But the sentences of this novel were full of surprises and unexpected turns. They communicated, but they also delighted in a way that is truly rare. This is the sort of novel that leaves me wondering, ¿Why haven¿t I read this author before?¿ I know there¿s another book somewhere on the shelf. I will be digging it up, because Ms. Julavits has charmed me utterly with her inventive use of language. Plot, in this case, was almost immaterial.
Not for Sale until March 2012. Now this one is still haunting me. Julia Severn is a student at an institute for gifted psychics. She is chosen to work for the acclaimed Madame Ackermann, but just as Julia begins to shine she quickly falls out of favor and is left with crippling illnesses after a psychic attack. She is forced to leave the school, but her gifts have not gone unnoticed and she is hired to find a missing person -- a controversial artist with possible connections to her own mother. All the stories intertwine amidst female rivalry, grief and death. Bizarre and entrancing. Recommended, especially if you are drawn to psychic stuff.
Gorgeous prose. Flawed, deeply fascinating characters- some with psychic powers- who hurt themselves and others. An exploration of living with loss and with deeply rooted, long-buried and complex types of pain (all kinds). Complicated human relationships. Time travel of sorts. Various disappearances. A mystery. Don't read it expecting a tidy resolution. Brilliant.