An unexpectedly accessible and engaging cerebral read, Tom McCarthy’s Satin Island is a state-of-the-world stream of consciousness as corporate anthropologist, U., navigates his way through contemporary life and his role in the multi-national, multi-government epoch-defining Koob Sasson Project.
Tasked by Peyman, his boss, with the writing of the book to define the age, U. spends his time in a sporadic oscillation between global and localised catastrophes (oil spills, Lagos traffic jams) and page five news about a dead parachutist – along with the occasional sexual encounter with Madison, a woman he met at a conference in Budapest. His purpose is to accumulate information from which the identification of a codex can possibly be developed – so that he can write that defining tome.
Satin Island is no domestic narrative of the mundane and the every day – it’s about airports and overseas conferences (London, New York, Paris, Seattle, Turin, Vienna), data analysis and expounding theories of human and corporate behaviour. It’s about disappearing into screens, power point presentations and decoding the world.
But what prevents Satin Island from slipping into a miasma of intellectual and theoretical inaccessibility is the wry humour and lightness of touch by Tom McCarthy. Contemplative and challenging it may be as U. scrutinises everything around him in what is essentially a novel without a plot. Madison features occasionally, as does Petr, a friend dying from cancer – but that’s the limit to the human-interest story. The remainder of the relatively short novel is about connection and events, a Chaos theory for the 21stcentury that will enable U. to write that book.
Shortlisted for the 2015 Booker Prize, Tom McCarthy lost out to Marlon James, the first Jamaican author to win the award, and A Brief History of Seven Killings.