The Thousand Autmns of Jacob de Zoet

The Thousand Autumns of Jacob de Zoet by David Mitchell

My rating: 3 of 5 stars


Every book or film lover will probably have books and films that they really want to love. Be it the new Terry Gilliam film which you have been following for ages on the web, or that new Salinger you've been waiting for since his death. However, all of us book and film nerds also know that most of these desperate love-stories won't come true. Oh sure, you'll cover the defects of the finished product with the cloak of charity and keep telling yourself, as you turn page after page, or watch minute after minute, that somehow, starting with the next minute, it will all become fabulous. But deep down in your heart you know it will end in disappointment.

The Thousand Autumns o Jacob de Zoet was one of these books for me. When I started reading the book, I was immediately engrossed in David Mitchell wonderful way with prose. I have never read any of his earlier books, and I was amazed by the way in which he has taken me, into a strange culture as it was 200 years ago on that unique place in both history and geography, Dejima.  His subtle descriptions of the political and cultural situation between the Japanese and the Dutch is very accurate, and his use of Jacob as the main story teller works well to show how both certain inhuman practices could be condoned by the Dutch, whilst making them uneasy at the same time. In Holland we have the saying: We are both Merchant and Minister (Rev.). Mitchell illustrates this fundamental aspect of Dutch culture in such a perfect way that you are never really aware of your introduction into the realm of the VOC.

Alas, there the magic ends. With the first act over and the switch of perspective from Jacob to one of the Japanese protagonists, Mitchell begins with an almost surreal exploration of Japanese culture. The storyline revolves around a mystic monastery and the uncovering of its secrets. It is because of the sense of realism with which Mitchell starts his book, that these chapters weren't able to satisfy my appetite for 19th Century Japan and it's position in the World-at-Large. A constant doubt concerning the reality of the described events ruined the book for me. Even when Mitchell returns to the VOC settlement of Dejima near the end, I couldn't be bothered to delve into the once rich scenery again.

However it is not only this surrealistic adventure in these middle chapters that cause this alienation. When we are reintroduced to Jacob the Zoet, Mitchell has started experimenting with different viewpoints to the story. Although this works in for instance My Name Is Red by Orhan Pamuk, the relevance of these (too) frequent perspective changes are never clear. Furthermore, as a number of important new characters are inserted into the story, I had the constant feeling that the last chapters were rushed, with no time for the proper development of these characters in the same way as the earlier inhabitants of Dejima had been inspected. My greatest disappoint though has to be the fact that in the end, Mitchell was unable to convince me of the relevance of the story he had told me. At the ending of the book, certain loose ends are neatly tied off, but in a most unsatisfactory way. Because although we know the different links between all the different characters, these people have had no effect on one and other. Even at the volatile resolution of the confrontation between Jacob and his English opponent, I felt empty as the motivation of all the characters involved was vague and mostly based on one or two earlier sentences or references.

To my opinion, it boils down to choices. I am under the distinct impression that a good editor could have forced the author to make certain choices. Either a realisic, or a fantastical approach to the era and Japan. A serious dialogue, true to the era, or a completely Anglicized dialogue with room for puns. One perspective, or more alternating perspectives on the same events. My list can go on for quite a while. The language issues were particularly to me, being Dutch, as you know that the puns and jokes Mitchell makes based on the Confusion of Babel could not have possibly happened as the words would have been completely different in Dutch.

It pains me to say that although I wanted this book to get five stars, and it is a superb display of penmanship, this book has to many defects that have ruined the experience of reading and enjoying it for me. I give it three stars, and I will not recommend it. But all is not lost, because this book has convinced me of the fact that David Mitchell is a magnificent author, and I am looking forward of reading more of his work.



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