The time period is difficult to pin down. 1950s, 1960s? The setting is never explicitly said to be New York City, but it is. There are clues peppered here and there but the whole thing also has a timeless, every-major-city quality to it. This world is exactly like ours, except elevators are a big, big deal. Their creation has shaped the form and structure of cities; buildings with arrangements of floors vertically stacked ad infinitum up into the sky, a concept itself only possible as a result of reliable, mechanical elevation. Those elevators highly utilized only because they are safe, safe only because of the skilled elevator inspectors laying down the law regarding their maintenance, and upkeep.
All of this is true in our world as well, but here it’s more than just a technicality, it’s elemental as a foundation of their entire modern society; an alternate Americana. Elevators and elevator inspectors are given the same level of awe that airplanes and pilots once had in our version of America. Just as the airplane compressed our world’s surface horizontally, elevators compressed theirs vertically, bringing the unrealized potential of the sky down to earth.
Elevators aren’t just a large aspect of the literal plot of the novel, but used as a metaphor for the ongoing racial struggle of black Americans, among other things. It’s handled elegantly, and I don’t want to touch on it all that much for fear of spoiling the experience. Suffice it to say there are several layers to this elevator-as-metaphor aspect, and they have a unique dialogue with one another.
Two warring factions in the Department of Elevator Inspectors in a bustling metropolis vie for dominance: The Empiricists, who go by the book and rigorously check every structural and mechanical detail; and the Intuitionists, whose observational methods involve meditation and instinct. The Intuitionist conjures a parallel universe in which latent ironies in matters of morality, politics, and race come to light.
Almost every corner of the novel mirrors, and folds on itself. The narrative is broken into two sections: Down, and Up: a fall from grace, and a rise from the ashes. A literal crashing down of one elevator, and a possible rising of another, perfected model; a “black box”. The dual and dueling, mirrored approaches to elevator inspection, Empiricism and Intuitionism. The former being the familiar method of visually inspecting, and testing components to ensure their reliability, checking them against tolerances and allowances. The latter embodying what you might call a holistic approach; feeling and communicating mentally, or spiritually with the elevator in an effort to understand what issues may be affecting it. The concept of intuitionism is where a lot of the surreal comedy of the novel stems. Can you imagine a sillier approach to checking a mechanical system? It’s all very Pynchonesque.
This book is an exemplary illustration of the power speculative fiction wields as a form of literature. Because of course, intuiting what ails an elevator is completely ridiculous in the real world, but it’s oddly endearing in an America slightly off from our own. Empiricists don’t respect Intuitionists, but they can’t argue with their results, which statistically, are ever so slightly more effective. It’s a slap in the face for those living a life guided by rules and measurements, when “feeling” a system merits slightly better results than doing your best to follow the rigid structure you are trying to impose on the world. Couple this with the double standards governing white America and black America, men and women, and it becomes poetic. This is used to show that there is always more than one way to approach any topic, any reality that you can interact with. That only using our eyes, can sometimes blind us in other ways, to other things. Reality is what we make it, and limiting ourselves to just one sense can be a dangerous practice indeed. You have to be able to fathom change before you can start to affect it, and this novel has a lot to say about where innovation and change originate, and how best to implement them.
The Intuitionist reminded me, in an odd way, of Jonathan Lethem’s Motherless Brooklyn. I am unsure if it’s the somewhat similar setting, similar themes of an underclass breaking upward into America proper, or the general mystery aspect of the narrative. Both were published in 1999, maybe there’s a similar cultural background at play? Whatever the reason, I find them comparable novels.
A solid little collection of human stories. Clever themes, tight writing, and very vibrant three dimensional characters. Something to relate to in every story, with only one stinker in the bunch. Neil Smith is Canadian, so there was a little more french in it than I was prepared for. I should probably learn at least some basic French at some point. 3.5 stars averaged, rounded up because there are some killer ones in here.
The story found its way to a terrific resolution. I imagine it’s difficult to end a haunted house novel in a way that is satisfying to the reader, but doesn’t undercut the creepy tone — that built it in the first place — with too much clarity. Do you completely explain the haunting and lose all the mystery, or do you leave it entirely unknown by ending in an ambiguous manner? The finale of The Grip of It finds that perfect middle point between these two extremes, balancing resolution/irresolution to both fulfill my deeply rooted desire for closure as a reader, and keep the eeriness fully at play.
