The Invention of Morel

The Invention of Morel

First edition dust jacket cover
Author Adolfo Bioy Casares
Original title La invención de Morel
Translator Ruth L. C. Simms
Cover artist Norah Borges
Country Argentina
Language Spanish
Genre Literary fiction
Publisher Editorial Losada
Publication date
 1940

La invención de Morel (American Spanish: [la imbenˈsjon de moˈɾel]; 1940) — translated as The Invention of Morel or Morel's Invention — is a novel by Adolfo Bioy Casares. It was Bioy Casares' breakthrough effort, for which he won the 1941 First Municipal Prize for Literature of the City of Buenos Aires.[1] He considered it the true beginning of his literary career, despite being his seventh book. The first edition cover artist was Norah Borges, sister of Bioy Casares' lifelong friend, Jorge Luis Borges.

Plot introduction

A fugitive hides on a deserted island somewhere in Polynesia. Tourists arrive, and his fear of being discovered becomes a mixed emotion when he falls in love with one of them. He wants to tell her his feelings, but an anomalous phenomenon keeps them apart.

Plot summary

First edition cover with an illustration of Faustine.

The fugitive starts a diary after tourists arrive on the desert island where he is hiding. Although he considers their presence a miracle, he is afraid they will turn him in to the authorities. He retreats to the swamps while they take over the museum on top of the hill where he used to live. Through his diary we learn that the fugitive is a writer from Venezuela sentenced to life in prison. He believes he is on the (fictional) island of Villings, a part of the Ellice Islands (now Tuvalu), but is not sure. All he knows is that the island is the focus of a strange disease whose symptoms are similar to radiation poisoning.

Among the tourists is a woman who sees the sunset everyday from the cliff on the west side of the island. He spies on her and while doing so falls in love. She and another man, a bearded tennis player called Morel who visits her frequently, speak French among themselves. Morel calls her Faustine. The fugitive decides to approach her, but she does not react to him. He assumes she is ignoring him, but his encounters with the other tourists have the same result. Nobody on the island notices him. He points out that the conversations between Faustine and Morel repeat every week and fears he is going crazy.

As suddenly as they appeared, the tourists vanish. The fugitive returns to the museum to investigate and finds no evidence of people being there during his absence. He attributes the experience to a hallucination caused by food poisoning, but the tourists reappear that night. They have come out of nowhere and yet they talk as if they have been there for a while. He watches them closely while still avoiding direct contact and notices more strange things. In the aquarium he encounters identical copies of the dead fish he found on his day of arrival. During a day at the pool, he sees the tourists jump to shake off the cold when the heat is unbearable. The strangest thing he notices is the presence of two suns and two moons in the sky.

He comes up with all sort of theories about what is happening on the island, but finds out the truth when Morel tells the tourists he has been recording their actions of the past week with a machine of his invention capable of reproducing reality. He claims the recording will capture their souls, and through looping they will relive that week forever and he will spend eternity with the woman he loves. Although Morel does not mention her by name, the fugitive is sure he is talking about Faustine.

After hearing that the people recorded on previous experiments are dead, one of the tourists guesses correctly they will die, too. The meeting ends abruptly as Morel leaves in anger. The fugitive picks up Morel's cue cards and learns the machine keeps running because the wind and tide feed it with an endless supply of kinetic energy. He understands that the phenomena of the two suns and two moons are a consequence of what happens when the recording overlaps reality — one is the real sun and the other one represents the sun's position at recording time. The other strange things that happen on the island have a similar explanation.

He imagines all the possible uses for Morel's invention, including the creation of a second model to resurrect people. Despite this he feels repulsion for the "new kind of photographs" that inhabit the island, but as time goes by he accepts their existence as something better than his own. He learns how to operate the machine and inserts himself into the recording so it looks like he and Faustine are in love, even though she might have slept with Alec and Haynes. This bothers him, but he is confident it will not matter in the eternity they will spend together. At least he is sure she is not Morel's lover.

On the diary's final entry the fugitive describes how he is waiting for his soul to pass onto the recording while dying. He asks a favor of the man who will invent a machine capable of merging souls based on Morel's invention. He wants the inventor to search for them and let him enter Faustine's conscience as an act of mercy.

Characters

The novel was written, at least partially, as a reaction to the demise of Louise Brooks' movie career[2]

Allusions/references

Literary significance and criticism

Jorge Luis Borges wrote in the prologue, "To classify it [the novel] as perfect is neither an imprecision nor a hyperbole." Mexican Nobel Prize winner in Literature Octavio Paz echoed Borges when he said, "The Invention of Morel may be described, without exaggeration, as a perfect novel." Other famous Latin American writers such as Julio Cortázar, Juan Carlos Onetti, Alejo Carpentier and Gabriel García Márquez[1] have also expressed their admiration for the novel.

Awards and nominations

Film, TV or theatrical adaptations

References

  1. 1 2 "Southern Cone Literature: Adolfo Bioy Casares (1914-1999)". Retrieved March 10, 2010.
  2. ↑ "Playing in Peoria: The Invention of Morel". Retrieved March 11, 2010.

Further reading

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