What do you think?
Rate this book


421 pages, Kindle Edition
Published July 8, 2022
"What is a life without possibility? Can one live life well without possibility?"
"Choosing to love is powerful."
Proxima Centauri is the closest star to our sun. Not visible from the Northern hemisphere, it is still approximately 25 trillion miles away. Not so close, then.
Chase Connor's recent book is all about distance and closeness, attraction and repulsion. Seen in context with Between Enzo and the Universe, the two volumes make up an impressive study of human relationship: the impossible made possible.
The first volume effectively is the story of one night in the life of Enzo, although his previous life is filled in as well. And that early life is all about loss, destruction, separation, bereavement, displacement, together with the aching need to restore precious relationships. His brother Noe's coat symbolises the close enveloping contact he misses so much; smelling of warm sugar - such a down-to-earth image - it nevertheless is described as being like a cloud, so something that can't quite be grasped, something beyond Enzo's reach, just like, apparently, all his relationships.
His chance meeting with Peter is just such an impossibility. An American tourist on his last night in Montreal, Peter is twice Enzo's age, and also evidently extremely well-off and successful. So no possibility of a relationship there, in spite of the evident attraction between the two. Peter's insistence on repaying Enzo's spontaneous kindness merely emphasises the distance between them; his generosity reads as condescension to Ezra, making him feel infantilized and resentful of his helpless poverty. And yet . . . as they finish the basket of rather too many doughnuts (sorry: donuts!) 'A cloud of leftover confectioner's sugar rose into the air between us'. There it is again: clouds and sugar. Noe's coat. An unmistakable reminder of the closeness Enzo is missing so much. Just as Noe's death makes that relationship beyond reach, so Peter's superiority makes a relationship with him beyond the pale.
And yet, somehow, across all that astronomical distance, some warmth manages to persist, and Volume 2, The Warmth of our Closest Star, deals with the development of the impossible relationship.
The writing of this book is so skilfully handled: in the quality of description, of dialogue, of characterization. The introduction of Alex into the plot hits like a cold shower, revealing the deadness of that side of Peter, as reflected in his friends who belong in his professional life. While at the beginning of the book every exchange between Peter and Enzo makes me aware of the age gap between them, by the end, I suddenly discover that I am not aware of their relative ages at all, and I don't know how Chase has managed to achieve that magic.
The structure of the novel is really carefully managed. Passages of flashback to past events are quite a common writer's device, but in this novel, written in the past tense, we have regular chapters devoted to looking forward to the present. They threaten to be full of spoilers that would remove the tension for the reader. But they don't. They are so carefully controlled that they actually build tension and increase the reader's curiosity. I don't mind admitting that I fell hook, line and sinker for that recurring 'bundle' reference. And I was wrong. But it made the double-bluff all the more satisfying in the reveal!The insights into the nature of trauma are impressive. It is difficult to comprehend the way early trauma seems to cling to us like Brer Fox's Tar Baby. The understanding that such adherence to trauma is an unconscious defence of the Self is central. It is as if the constant re-traumatization is a kind of reminder of past pain that was so dangerous that it has to be kept in constant review; trauma so toxic that it can never be allowed to happen again. Even self-destructiveness is preferable to going through that pain again. It's as if a taste of poison has to be constantly readministered in order that we may learn to avoid the poison forever.It falls to Alex to reveal to Enzo that there is a part of Peter that is skilled at immersing himself in 'social' relationships which can be so destructive of personal relationships. Yet, as Peter's long-term friend, Alex bridges both sides of him. He is able to accustom Enzo to Peter's duality, while Enzo's early trauma inclines him towards seeing the social Peter at the expense of his deeper reality. Enzo can't let himself trust Peter's deep self. Look where such closeness got him in the past! The important chapter 'You Really Got a Hold on Me' is where Alex puts into words Enzo's 'survivor's guilt' (another way of seeing the self-destructive effects of trauma).
Swallowing hard, I said, 'You must hate me. Peter must hate me.'The adherent trauma and the effects it has on Enzo's life are reflected in his meningioma. It is Alex who is instrumental in getting Enzo to take the necessary steps to have the growth surgically removed, which is the first step to Enzo regaining a sense of his own authority in his life, rather than being the perpetual helpless victim of his circumstances. The regaining of his authority is expressed in his 'disobedience' in not letting Peter know he was going through such crucial surgery. He did not need the permission of the older man, and took on the responsibility for hurting Peter by his omission.'I don't hate you, Frenchie,' he chuckled. 'I don't pity you. I simply understand you.'
His new grasp on himself leads eventually to the big argument he and Peter have, which is so realistically and sensitively written as to leave me feeling that the argument, and indeed the whole book, might well have a basis in the author's real life. None of my business, such speculation, but my comment remains a tribute to the liveliness of the writing.
Enzo's grasp on his authority, his authorship, his Promethian Self, is something he finds characteristically hard to put into words, but he manages:
But . . . being alone . . . it has shown me that before I can be part of us, I need to be Enzo. For a while. So I can know who Enzo really is. I've hardly ever had the chance to just be Enzo.and later he states:
One cannot erase their history - their trauma. And they shouldn't. A person isn't who they are without those things, for better or worse.
Even astronomical distances can miraculously be crossed.
So now I'm off to re-read A Surplus of Light, and find out how The Bees and Other Wild Things works with that. I'm looking forward to it.