Van Gogh’s Bad Cafe is an unusually beautiful novel, built on the fault lines between worship and addiction, artist and muse. Yet despite the immediate intrigue associated with these themes, Frederic Tuten has taken time itself as his primary obsession in this work. And why wouldn’t he? The narrative form of the novel is the perfect tool for experimenting with time; events described therein are pulled along by the knotted rope of plot, and the reader can momentarily occupy a noumenal rather than physical time, collapsing space and time into a single and dynamic entity.
Tuten skillfully engages this possibility, and gently, brilliantly, manages to separate time from history. Van Gogh’s Bad Cafe tells the story of a woman caught between two lovers, who are themselves a century apart. Ursula is a photographer with a morphine addiction, trying desperately to capture the fleeting formal beauty of light bursting through space. She has her first lover, Vincent Van Gogh, haul her heavy plate camera into the fields where she hopes to trap the miracle on paper, catch it like a child would a lightning bug. Her second lover, an artist in 1990’s New York named Louis, equips her with a Diana and a Leica, and she breaks out on her own to try to intercept the east river’s rally with the fading day light. In addition to her ability to travel forward a hundred years, or perhaps because of it, Ursula is also fascinated with plugging up time, she has the addict’s peculiar ability to speed up time by slowing herself down, to literally kill time by entering a magic stupor, the warm blooded sleep of opiates slowing her blood and eating through the hours.
Ursula covers her ultra feminine body in the 1880’s by occasionally dressing in menswear, and carrying a revolver around to shut up guff givers as she runs into them. In the 1990’s, she transgresses gendered boundaries by shaving her hair, donning docs, getting pierced and reading Sylvia Plath. She eventually turns away from photography in order to make her body her primary mode of expression, and rather than escaping the women’s ghetto of the muse she becomes imprisoned by temporality. Her flesh will rot, her ideas shouted however loud will go unrecorded, and though she traveled through a century in her body she can never undo time, she can never reach forward with the miracle of light caught on paper.
Tuten’s prose is sensuous and lyrical, and this love story between art and time is charged with eros as it moves through the ages. Eric Fischl’s visual contribution of several eerie and diluted sketches offer so many small islands in the sea of yearning that makes up Van Gogh’s Bad Cafe.
Should you be lucky enough to find yourself in NYC on December 4th, you might enjoy a marathon reading of Frederic Tuten’s astounding first novel, The Adventures of Mao on the Long March, hosted by The New Inquiry and BOMB Magazine in celebration of New Directions Publishing’s 75th anniversary. Click here to RSVP.