Part of a series of periodic book reviews
People rarely mean what they say, but accepting this as an absolute might land you in a world similar to that of Leo Leibenstein in Rivka Galchen’s debut novel Atmospheric Disturbances, where sometimes people don’t necessarily even mean who they are. Psychiatrist Leo Leibenstein wakes from a migraine nap to a woman coming into his home who looks and talks exactly like his beautiful young Argentine wife but isn’t her, prompting Leo to set off on a search for his real wife, operating on wild theories born out of a seemingly harmless white lie told to one of his patients, Harvey, who believes he can control the weather.
The world (sometimes it seems there should be a better word for it) here, is confused with the worlds we make up out of our lies—those we tell ourselves, those we tell others, and those we mix up with our dreams. For Leo, it all seems to flood in on the same plane, deviating from “a consensus view of reality,” but perhaps much closer to an example of the kinds of realities we each live every day.In order to keep Harvey from disappearing to random places in attempts to control weather patterns, Rema and Leo devise an act in which, during Harvey’s sessions, Rema would call Leo acting as one Dr. Tzvi Gal-chen of the Royal Academy of Meteoroloy with orders for Harvey to direct the weather more locally. It works for awhile, but then Harvey goes missing and shortly after Leo is convinced Rema is missing with a doppelganger in her place. Leo is convinced that only the real Tzvi Gal-chen, who coincidentally is based out of Rema’s home town, Buenos Aires, will be able to help. But, in a rather Kafkaesque twist, Harvey gets in touch with the real Tzvi himself who, independent of Leo, is going along with the ruse.
in It would seem that Leo is suffering from something like Capgras syndrome—which a person can no longer emotionally identify an individual in his life. But it can, at the same time look like a falling out of love, or a change—say, an atmospheric one—in the nature or progress of such a love. Rema is never too far from Leo at any point in the novel. Often she is even in the same room, but he cannot see her. A simple switch turned off in the brain without his knowing; a misplaced high pressure system, maybe. His madness is both horrifying in its improbability and as familiar as the immediate pain of a lost love—at once right in front of you and permanently disappeared.
This novel’s power lies in its sheer ability to knock you sideways into the trenches of your own confusions and misidentifications. It’s a novel that will keep you home from work, blood pressure lowered—not so much for the story, powerful as it is—but for the thought of what you have left to learn about yourself, which might seem like so much. It is because of an occasional book like this that I continue to read fiction.