Sunday, October 26, 2014
THE PERSIAN AMBASSADOR, Historical Transrealism?
Following a discussion about literary Transrealism, I wondered if anybody ever had the idea of applying the term Historical Transrealism to some literary works and, what excited my curiosity most, to graphic novels, a field that owes a lot to the type of novels that fall in the Transrealism category. Not that I'm apologist of cataloging everything, which in general serves badly the most intricate works and spoils some of the fun, but I think that, in what concerns some of my most recent projects, it is a correct presentation card. A short story published online, The Persian Ambassador, finished by the end of 2008 (it is also one of two stories published on paper in a 2011 Portuguese monochrome edition titled Li Moonface, by Pedranocharco) is the best example I can find. An unfinished novel from 2009 and the graphic novel Nau Negra, heavily documented on the historical side and near completion, also go on the same direction.
Adass Polo, one of the main characters of The Persian Ambassador, does mix up two very different realities in his life, one our own present world, where he tells his misadventures to the Chinese acupuncturist Li, and his claimed original world at the service of Cambises, the Persian king, that functions as his own reality. Polo dismisses the future he is in as a world full of seated people and tries to put the record straight about what we think of his own time and about his mission as ambassador and explorer in ancient Ethiopia, an adventure that somehow ends somewhere in Southeastern Europe in the twenty-first century, in a place where people go to eat fried fish. The connection between the two is established during events described at the end of the story, as you may see in here.