The Vanishers

Featured Guest Review: Karen Russell on The Vanishers

Karen Russell is the author of the short story collection St. Lucy's Home for Girls Raised by Wolves and the novel Swamplandia!, named one of New York Times' Top Ten Best Books of 2011.

Julia Severn, an initiate at the Institute of Integrated Parapsychology and stenographer to the great seer, Madame Ackermann (a recipient of "the occult equivalent of a MacArthur"), has a lot of raw talent. So much, in fact, that the relationship between mentor and protégé quickly sinks into hostile territory when Madame Ackermann taunts Julia with specters of her late mother. After a game of mental telepathy goes awry (forget Twister," these party games the academic psychics play, they are high stakes), Julia finds herself abstractly ill, undiagnosable and unable to continue her studies with Madame Ackermann.

Julia heads to New York, where she meets Alwyn, a young woman who has "vanished" herself, leaving her family without a clue as to her whereabouts; and Colophon Martin, a one-time employer and current adversary of Madame Ackermann. They theorize that all of Julia's strange symptoms can be traced back to her former mentor: Julia is suffering from a psychic attack launched by the jealous Madame. Colophon urges Julia to check herself into Vienna's Goergen Asylum, a cavernous Art Nouveau spa for patients wishing to recover in secret from plastic surgeries, and for the vanished victims of psychic attack.

On the surface, The Vanishers is about two paranormal scholars with the ability to carry out perplexing psychic attacks on their adversaries, and it is without a doubt a chilling metaphysical mystery. But it's also a totally delightful satire of academia, where email attachments can carry luminous pathogens and psychic warfare might at any moment erupt near an Institute cheese plate; it's a medical horror story that will be intimately familiar to anyone who has ever been sick with something that resists names and medicines; and it's a darkly hilarious send-up of spa culture and the various forms of amnesia, facial disguises, and self-erasure bottled and sold to us by the "health and beauty" industry.

The Vanishers delivers pretty much every pleasure a reader could ask for, and its unusual framework weaves together the powerful themes that dominate Julavits's other novels--it gives fresh expression to the experience of grief, of mourning for one's mother and for one's vanished self, of the fraught bonds between women and the twisted consequences of female rivalry and the games that people play with one another. I was amazed by the language in The Vanishers, at Julavits's gift for distilling complex desires, dream and emotion, and certain interior experiences that I had believed to be beyond articulation, into prose of shocking beauty and originality.

The Vanishers is an absolute masterpiece. Julavits takes readers on a wild ride that hops continents and decades, but the real setting is the grey territory between sickness and health, sanity and delusion, love and hatred, life and death.