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The Selected Works of T.S. Spivet: The Lost Images
by Reif Larsen
I initially wrote a draft of The Selected Works without any accompanying illustrations. After reaching the end, I still had that tingly feeling that usually means something is missing, and so I thought about it for awhile and realized that in order to really understand T.S., we actually need to see his drawings laid out on the page. T.S. was most comfortable in the exploding diagram or the annotation or the bitchin’ bar graph; this marginal material was where he would often let down his guard and reveal something he wouldn’t otherwise in the main text.
As soon as you include that first image in the margin, however, you've positioned yourself on a slippery slope, as suddenly there's this temptation to illustrate every single detail in the novel. Particularly with a digressive character like T.S., I found that I had to be very selective about what I wanted to show. What is not shown is as important as what is shown. In addition, many of the images in this book are not direct illustrations like might you see in other books—as in, "let me tell you about x and now here is a picture of x." Instead of a direct one-to-one correspondence, there's a satellite-like relationship between the text and the image, a kind of graphical parallelism. T.S. will talk about his suspicion of the adult male and then include a chart of male-pattern baldness, and it is through these somewhat disparate leaps between text and image, between the main story and the marginalia, that we begin to soak in T.S.'s habits of mind.
Sometimes I would include an image and then realize that I could now erase a piece of text, as the image was performing the work of that text, and often performing it in subtler ways. On page 67, for instance, there's a diagram of the patterns of cross–talk at the dinner table. Before this image came along, I had a whole elaborate explanation of T.S.'s difficulties talking to his Father at the head of the table, but this became redundant with the diagram; the visual shows it much more elegantly.
And then there were cases where I put in an image only to figure out after awhile that it just wasn't working. In honor of T.S.'s tendency to categorize everything, I've chosen five of these "lost images," each representative of a different reason for ending up on the cutting-room floor.
|Reason 1: NO ROOM!|
Image: The Thrushing of Dr. Clair’s Hairbrush (as seen through the keyhole).
|This was an example of the illustration just not fitting in the margins. We thought a lot about the dimensions of the book—a size that felt novelistic but also allowed for enough width to give the margins breathing room. So a couple of images just got the axe. I like this one, though, and was sad to see it go. I now use it in one of my slideshow/readings.|
|Reason 2: CUT THE STRING, LOSE THE KITE|
|In an old draft, T.S. fantasized about his impending fame as he rode the freight train out East:|
"I took a couple of stereoscopic photos, promising myself that when I got to Washington I would look into the possibility of arranging an exhibit on the eye and stereoscopic vision using the panoramas of the West. The West seemed a good a place as any to point out that our world was in three dimensions. For a brief moment, I was intensely excited again about the possibility of exhibitions like this one; exhibitions on x-ray vision and time travel; the sturdiness of human bones; the intelligence of dogs and dolphins and donkeys."
I wanted to just gesture at one of these imaginary drawings, and I like how in this very seventh-grade bar graph there is no label on the y-axis, just a vague quantification of "intelligence." But the original line was cut... I didn't want T.S. musing about his fame just yet, and so went the vague bar graph. Cut the string, lose the kite.
|Reason 3: NOT DOING THE WORK|
Image: Newton Notwen, the Turtle
|In Chapter 7, T.S. turns to Newton's laws of conservation to help give him some theoretical sturdiness during his cross-country adventure. I originally had a sidebar here about Newton Notwen, T.S.’s unfortunate turtle:|
"I still respected Newton immensely even if he did look a little like a child pornographer in his portraits. I had even named my first pet turtle after him: Newton Notwen, a perfect palindrome, because Newton Notwen had a tiny head that looked a lot like his tail if you squinted your eyes. Perhaps because of this reciprocal anatomy, NN died after only a week of living in the kiddie pool on our deck, although it could also have been because Layton shot him."
I made the tough decision to cut this because I thought it was too jokey jokey and wasn't doing enough for the scene.
|Reason 4: TOO ILLUSTRATIVE|
Image: The Valero Workstation
|This illustration originally opened chapter 8, but I felt like it was qualitatively different than many of the other drawings in that it was almost too illustrative. It was the kind of illustration you might find in a graphic novel, where images serve a very different purpose of representation. We get the hint of the family photo, but not much else with this, and so I swapped it with the Boredom Box, which is ultimately more engaging, I think.|
|Reason 5: DULLS THE ACTION|
Image: The Dock Cleat
|When T.S. has his confrontation with the crazed preacher in Chicago, there’s a very tense moment of action. I originally had this diagram showing how Josiah trips over a dock cleat, but I realized the diagramming of the action actually lessened the stakes of the scene. Better to just give a couple of resonant images of the knife and the birds and then let the reader fill in the rest. The most powerful images are always those elusive mind maps that readers create in their own heads when fully immersed in a piece of literature; nothing on the page can hope to replicate their depth and intimacy.|
And of course there were other reasons for cutting drawings: some were just lousy. I will spare you these lost images, however, as they belong in graphical pergatory. T.S. would not have approved, and let me tell you, I've learned a thing or two from Mr. Tecumseh Sparrow.
--This text refers to an out of print or unavailable edition of this title.
this is a book about a kid, but not really for kids. It has pictures.... but still not a kid's book. It was thrilling and heart breaking; felt so real and so unreal....... Read morePublished 2 months ago by V
This book looks fascinating! We have not had a chance to read it, of course, as it was just opened at Christmas but it looks like a book that would draw you in and keep you... Read morePublished 3 months ago by Leah R. Corwin
This book is entertaining, perplexing and a constant reminder that most of us don't really see the world around us. Read morePublished 3 months ago by Larry Kishbaugh
Oddly put together but very interesting book. Very readable. This is one of those books that you have to take the time to read all the work in the margins as well as the primary... Read morePublished 5 months ago by G. Clark
I wish I had time to write a longer review for this book, because it deserves to be talked about, and I agree with the reviewer who said that they are surprised there aren't blogs... Read morePublished 9 months ago by BT2495
My husband who tends to be more of a visual person than a reader bought this book because the illustrations accompanying the text caught his eye. Read morePublished 10 months ago by S. Hart
What happens when a brilliant 12 year old wins a prestigious cartography prize and sets off from his family's ranch just north of Divide, Montana, on a journey to the Smithsonian? Read morePublished 11 months ago by N. Ferguson
A terrific novel. It starts exceptionally strong and brilliant. It gets a bit muddled in the middle/end but is still a wonderful read. Very inventive.Published 15 months ago by ncsailer
If you are tired of fiction that follows a predictable pattern, this book is for you. It is so unique that I kept shaking my head throughout. Read morePublished 19 months ago by Rachel Berbiglia