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The Asylum of Dr. Caligari by James Morrow

The Asylum of Dr. Caligari

by James Morrow

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Bizarre is the word that comes to mind when reading The Asylum of Dr. Caligari by James Morrow. The story and writing intrigue me enough to keep reading to see where the book goes. It ends up in an unexpected place, and that too is okay. This book is definitely one in which as a reader, I just go with the flow with no expectations and no disappointments, but a memorable reading experience regardless.

Read my complete review and the history of this book at http://www.memoriesfrombooks.com/2017/09/the-asylum-of-dr-calgari.html

Reviewed for NetGalley ( )
  njmom3 | Sep 7, 2017 |
James Morrow’s novella picks up Dr Caligari, the main character from the classic silent movie The Cabinet of Dr Caligari, and tell us about his next enterprise: an asylum in a small neutral country just as the beginning of the Great War.
I loved the film, and I’ve also very much enjoyed this novella, which blends an entertaining and well written fictional story, with real First World War historical facts. And although a clear anti-war message pervades the book, the story is brilliant in itself, not a mere instrument in the service of the message. The book also deals with many other “serious” issues (art, psychology…), but the humor is present at all times, the characters are engaging and original and the plot is witty (although there were a couple of details I found a bit unbelievable). On the whole, a quick and highly enjoyable read. ( )
  cuentosalgernon | Aug 13, 2017 |
Most people probably don't start pondering the power of art after seeing the classic German silent film The Cabinet of Dr. Caligari. But then author James Morrow isn’t your average person. After all, he spent the 1990s "killing God" in The Godhead Trilogy. A self-described "scientific humanist," Morrow’s last several novels explored the scientific worldview through the perspectives of the struggle between science and superstition in the early 17th century, genetic engineering and ethics, and evolutionary theory.

With his new book, The Asylum of Dr. Caligari, Morrow unmistakably moves from science to the humanities aspect of the definition of humanist. Morrow, who made 8mm and 16mm films in high school and college, uses the 1920 German silent horror film as inspiration and a foundation for the book. The movie is about a sideshow hypnotist, Dr. Caligari, who uses a somnambulist (Cesare) to commit murder and kidnap the narrator’s fiancee. When the narrator later follows Dr. Caligari, the hypnotist appears to be the director of an insane asylum. While some consider The Cabinet of Dr. Caligari the first true horror film, it’s best known for its visual style, one which has led many to proclaim it the quintessential cinematic example of German Expressionism.

The movie’s sets and objects deliberately and bizarrely distort perspective, scale and proportion. Sharp-pointed forms, such as grass that looks like knives, and oblique and curving lines dominate. Streets are narrow and spiraling while buildings and landscapes lean and twist in unusual angles. Some of the landscape is painted on canvas and shadows and streaks of light also are painted directly onto the sets, imbuing the film with a two dimensional aspect. While Dr. Caligari is central to Morrow’s book, The Asylum of Dr. Caligari is built around and focused on the extensive expressionist art motifs in the film. In fact, art is both a centerpiece and the vehicle of the book’s antiwar theme.

The story is told from the perspective of American artist Francis Wyndham, whose first name is also that of the film’s narrator. Through him, Morrow introduces art from the outset. Wyndham attends what is known as the Armory Show, a 1913 modern art exhibition in midtown Manhattan that introduced the American public to European avant-garde paintings and sculpture. Wyndham is so enthralled with what he sees there, he ends up setting out for France shortly before the outbreak of World War I. He dreams of being an apprentice to Pablo Picasso, who promptly throws him and his portfolio down a flight of stairs. Wyndham refers to his encounter as “Rube Descending a Staircase,” a takeoff on Marcel Duchamp's “Nude Descending a Staircase,” displayed at the Armory Show. Undeterred, Wyndham seeks out other cubist artists, such as Duchamp, Georges Braque and André Derain.

When Wyndham meets Derain, the artist is being mobilized into the French military. He asks Wyndham to undertake Derain’s new position as art therapist at Träumenchen, an insane asylum. Located in the neutral fictional country of Weizenstaat abutting Luxembourg and the German Empire, Träumenchen is run by Dr. Alessandro Caligari. Echoing the film, Caligari is a former sideshow hypnotist and now an alienist who considers Freud a charlatan. Caligari believes hypnosis is the future of psychiatry and all treatment at Träumenchen on is based on the theory of heteropathy, in which a patient’s mental condition is treated by inducing an opposite disorder. (Cesare also resides at the asylum but in Morrow’s tale he is a black cat. Caligari’s sideshow somnambulist here is Conrad Röhrig, now his private secretary.)

Caligari also dabbles in painting, completing his magnum opus the night Wyndham arrives. Called "Ecstatic Wisdom" based on a chance remark by Friedrich Nietzsche when he was a patient at Träumenchen, the work is some 30 feet long and 15 feet high. Looking forward to the war’s "aesthetic intensity" and believing it "transcendentally meaningless," Caligari created the painting with alchemical pigments. The alchemy enables "Ecstatic Wisdom" to brainwash men into kreigslust ("war lust").

Here, the book shares a common analysis of The Cabinet of Dr. Caligari: Dr. Caligari represented the militarist German government during World War I and Cesare symbolized how, upon becoming a soldier, the common man is conditioned to kill. Seeing the painting as financial security for his asylum, Caligari charges each warring nation as they send a constant procession of troop trains to Träumenchen. The soldiers march by the painting and afterwards "radiated a boundless desire to find a battle, any battle, and hurl themselves into the maw." This artistic war machine doesn’t just create the fodder. Within a month, the asylum is full of soldiers suffering from shell shock,

Throughout, Wyndham is teaching art therapy to a paranoid, a former chess grandmaster constantly narrating classic matches, a man who says he’s traveled the solar system in his private spaceship, and Ilona Wessels, who hails from Holstenwall, the fictional town that is the setting of The Cabinet of Dr. Caligari. She believes she is the Spider Queen of Ogygia, the island in Homer's Odyssey, and she and Wyndham are immediately attracted to each other. Caligari encourages them to live together to provide Wessels "la cura amore" treatment. Knowing of Caligari’s painting and its effect, they form a cabal with other patients and employees to sabotage the scheme.

Morrow uses language consistent with a story being told by someone living in that period (‘batwinged incarnations of melancholia, catatonia, paranoia, and dementia praecox swirled all about me"), helping set the book’s narrative tone. A variety of Latin, French and German phrases dot the text so an online translator will aid readers. Likewise, due to the numerous art references, a reader is well-advised to have handy access to art history sources (or even Wikipedia). Surprisingly, though, Morrow’s pursuit of verisimilitude is undercut by either "artistic license" or an error in the first chapter. It has Wyndham meeting artist Henri Rousseau in Paris in the summer of 1914. Rousseau, though, died in September 1910.

That aside, the book is generally well-paced through Caligari’s discovery of the cabal, except for the space allotted to depicting the sexual adventures of Wyndham and Wessels. The last third of the book, however, feels a bit rushed and underdeveloped considering the cabal ends up on the Western Front and Wyndham, for example, doesn’t return for a month. The hurried feel is bolstered by the fact the run-up to and the ultimate denouement feel chimerical and even more fantastic than Caligari and his creation.

The Asylum of Dr. Caligari is an inventive homage to and extrapolation of concepts in The Cabinet of Dr. Caligari. At less than 200 pages, it’s also a pithy commentary on the power of art and the folly and hysteria of war. Ultimately, though, despite being a thoughtful read, the book does not wholly realize its aims.

(Originally posted at A Progressive on the Prairie.) ( )
  PrairieProgressive | Jul 16, 2017 |
***This book was reviewed for the San Francisco and Seattle Book Reviews, and via Netgalley

The Asylum of Dr Caligari by James Morrow, spun from the 1920s silent film The Cabinet of Dr Caligari, is a commentary on duality- life and death, war and peace, science and art, reason and mysticism, sanity and insanity- and how things are often not as dualistic as first they seem, for they are connected. Like the yin-yang, there is always a bit of one in the totality of the other. Beyond that, it is an admonishment against war, the foolishness that starts it, and the lust that fuels it.

A young artist, Francis Wyndham, sets off from America, headed to Europe to learn from the masters. Unfortunately, poor Francis cannot find a place as an apprentice, and he begins to need to consider focusing on a trade in order to survive. He is spared from brickmason’s schooling when he is unexpectedly offered a job working as an art therapist for Dr Caligari at his asylum in Weizenstaat. Caligari is a mesmerist and alienist with unconventional methods including sex therapy and heteropathy. Francis accepts and begins teaching four gifted 'lunatics’.

On his initial tour, Francis is shown artwork done by his new students, which is held on display at a museum attached to the asylum. Shrouded in one section is a painting Dr Caligari has done. Francis asks about it and is pretty much told to mind his own business. Not only does Francis go back to see the picture, but he takes Ilona, one of his students, with him. What they find defies explanation. Using alchemy, Caligari has created a painting to arouse bloodlust in all who view it. As World War One looms on the horizon, Caligari begins to charge governments, and exposing soldiers to the painting, priming them for fighting. Francis and Ilona have to stop him, but how? Thankfully, Caligari isn't the only paint mystic around. Question is, can they pull off a peace painting to counter the lust for war?

This is a satire for the ages, a skillful blending of the history of World War One, and the fantastical realm of alchemy and magic. There's so much going on in this book, philosophy and spiritual-wise. With Caligari, Francis, and Ilona, you have both Creator and Destroyer in each. The art they create can incite intense emotion, and it's a lesson that such power should be handled with care. Art, and creativity itself, in any form is a gift and a chance to give beauty back to the world. Abuse of that gift is tragic. Jedermann is a liminal guardian, and a psychopomp, in a quite literal way for Francis, and for countless soldiers in a more figurative fashion.

The wry, tongue-in-cheek amusement of Morrow’s writing reminds me of reading Jonathan Swift's A Modest Proposal many moons ago (and reread a few years past). I'm not a huge fan of satire, but this tale is eminently readable.

📚📚📚📚📚 ( )
  PardaMustang | Jul 5, 2017 |
This is a weird surreal adventure at the start of WWI, where Art and Sorcery in a lunatic asylum are used both on the side of good and peace and evil and war.

Dr. Caligari sells access to his masterpiece to the highest bidder. A masterpiece painting that compels its viewers into unbridled passion for war. Both sides of the building conflicts are eager to avail themselves of his services. Francis is an artist from America, who comes to the asylum to work as an art therapist. While there, he uncovers Caligari's plans and endeavors to stop him. With the help of his students, the Spider Queen of Ogygia, the Commander of an Alien Armada, a Grand Chessmaster, and several others, they construct an "antidote" painting to cause the viewer and equally unbridled passion for peace.

Its funny, satirical, and poignant. Its a quick read, and I'm not doing it justice, but if you like good witty writing its definitely worth your time.

"'This morning I learned something marvelous. Never have I hoarded so precious a secret'
'Pray tell'
'If I tell, it won't be a secret. If you pray, it will be a waste of time'"

"Vita Brevis, ars longa" (Life is Short, Art is Forever - to paraphrase the latin)

"Only God is flawless," said Ilona. "It's the first thing you'll notice about Him, if he ever gets round to existing"


S: 6/20/17 - 6/24/17 (5 Days) ( )
  mahsdad | Jul 1, 2017 |
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"It is the summer of 1914. As the world teeters on the brink of the Great War, a callow American painter, Francis Wyndham, arrives at a renowned European insane asylum, where he begins offering art therapy under the auspices of Alessandro Caligari - sinister psychiatrist, maniacal artist, alleged sorcerer. Determined to turn the impending cataclysm to his financial advantage, Dr. Caligari will -- for a price -- allow governments to parade their troops past his masterpiece: a painting so mesmerizing it can incite entire regiments to rush headlong into battle. As the doctor's outrageous scheme becomes a reality, Francis joins with his brilliant, spider-obsessed student, Ilona Wessels, and a band of lunatic saboteaurs to thwart the mercenary magic. By radically reimagining the most famous of all German Expressionist silent films, satirist James Morrow has wrought a timely tale that is by turns funny and erotic, tender and bayonet-sharp - but ultimately, The Asylum of Dr. Caligari emerges as a love letter to that mysterious, indispensible thing called art." -- back cover.… (more)

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