The below conversation between Thomas Mullen and Jon Fasman appears in the paperback edition of THE REVISIONISTS, now available in bookstores everywhere.
Check back later in the week for questions and topics for discussion perfect for your reading group. Or, head out to your favorite bookstore, snag a copy, and start reading now. You’ll thank us later.
Thomas Mullen has written two great novels set in America’s past: The Last Town on Earth, which tells the story of a quarantined town in Washington state during the 1918 influenza epidemic, and The Many Deaths of the Firefly Brothers, the story of two Depression-era bank robbers with an unusual gift for surviving bullet wounds. His writing, both in these stories and in his new book, gestures toward fable, allegory and that catch-all category, magical realism, but remains grounded where novels should be grounded: in character, and in love. His new novel, The Revisionists, is a historical novel of sorts: one of its protagonists comes from the future, which he calls The Perfect Present, and treats our imperfect present as history.
I met Tom by chance, in 2007, when we were both living in the same neighborhood in D.C. One year later he moved to Atlanta, and a year later, again by chance, my work moved me down here — to more or less the same neighborhood once again. I had a few conversations with Tom while The Revisionists was still in the idea stage. I told him then that it sounded great, but how great it actually turned out to be surprised and delighted me. What follows is our conversation about imagination, genre, and the not-so-Chocolate-anymore-City.
JF: You give us brief glimpses of Zed’s world: the Department, pods, erasers of memory. Did you, as the author, imagine, see or plot more of it than that? Was Zed’s world that you allude to complete in your mind?
TM: I admit that I don’t read much sci-fi, and that the specifics of Zed’s future world (what it looks like, what sort of inventions they have, etc) wasn’t quite as interesting to me as the philosophy and politics behind it. So I tried to describe the world as vaguely as possible and let smoke and mirrors do the rest.
What most intrigued me about his allegedly “Perfect Present” is the way they deal with past conflict and with the idea of race and ethnicity. I was inspired by a Time magazine cover story from 2000 that used computer graphics to create a composite face of what humankind will look like many, many generations in the future, when all the ethnicities have mixed and we’re basically one race. I figured that if one of my characters was a time traveler from such a future, then he should look this way. The contemporary-Washington characters who see him think he looks “interestingly multiracial” and puzzle over his background, which leads to some awkwardness. Continue reading ›