Fata Morgana

First published: 1977

Type of work: Novel

Type of plot: Fantasy—magical world

Time of work: 1861

Locale: Central Europe

The Plot

From the beginning of his career as a writer, the extremely versatile William Kotzwinkle (who was chosen by director Steven Spielberg to write the novelization of the 1982 film E.T.: The Extra-Terrestrial) has been interested in the region where realism and fantasy merge and fuse. In Fata Morgana, he explores this mysterious area by combining a conventional detective story with an examination of the unconscious mind of a middle-aged police inspector in Paris in the 1860s.

Paul Picard is an experienced professional, familiar with police procedure and the urban underground of criminals and dropouts. He is a traditional and essentially conservative man, but his desire to enforce justice and unravel the threads of a complicated criminal scheme lead him into a realm where his experience is not sufficient. The world of laws and rational expectations Picard knows is disrupted by the appearance of Ric Lazare, who is witty, socially adept, and possibly the mastermind of an extraordinary conspiracy that may reach into the chambers of the leaders of France, or even beyond, to centuries-old, shadowy organizations that seem to deal in the supernatural.

Picard is intrigued by the challenge and energized by the dangers a pursuit of Lazare would involve, and he begins to search for clues and answers in Vienna, Nuremberg, and Budapest, as well as in the darker, time-worn locations of an older world. During the course of his investigation, he is drawn into the recesses of his own mind, back toward the prerational childs perspective that permits magic and the exceptional to mingle with the realistic and the familiar.

Picard begins to suspect that Lazare has been operating in forbidden, arcane phenomena, possibly mastering a method of continuous reincarnation that promises immortality. Picards skills in deductive procedures are augmented by his own fascination with semimystic techniques, such as consultation with seers, faith in amulets, and the commissioning of spells formulated by conjurers. In spite of this, he is overcome in a confrontation with Lazare in which shellfire from toy soldiers seems to wound him mortally. In a device common to the genre, he discovers that he has known defeat in a dream-vision. Restored to waking consciousness, he recognizes that he has been given a glimpse of one among several possible futures. He resolves, prudently, to put aside the pursuit of Lazare but to apply some of the lessons of his experience to his continuing effort to overcome his old adversary, Baron Mantes.