The Sound of Silence

It should come as no surprise that the Wachowskis elected to adapt David Mitchell’s 2004 tour de force Cloud Atlas into a film. Like Mitchell’s works, the Wachowskis’ 1999 film The Matrix is a part of a contemporary trend in which artists and writers such as Angela Carter, Paul Auster, and Salman Rushdie engaged in postmodern discourse, themes, and techniques without necessarily subordinating itself their visions to a postmodern worldview. 1 Mitchell received an M.A. in 1987 from the University of Kent in comparative literature focusing on the postmodern novel, and his first three novels employ the themes and problematic tensions raised by the theory dominant during the rise of continental philosophy in Anglo-American graduate programs during the 1980s and 90s. 2 Cloud Atlas engages theory ranging from overt metafictional winks, such as Timothy Cavendish’s disapproving mockery of “flashbacks, foreshadowings, and tricksy devices,” which “belong in the 1980s with M.A.s in postmodernism and chaos theory” (150), to more subtle uses of popular postmodern metaphors apparently drawn from the theory, as when Henry Goose poisons Adam Ewing with a fake medicine, thereby literalizing Derrida’s riff in “Plato’s Pharmacy” on Socrates’s claim that writing is a pharmakon, a word that means both “cure” and “poison” (759). Like the theory it interrogates, such engagements necessarily front language, speech, and writing as central thematic concerns. Mitchell’s work is systematic in its logic, self-consciously employing a kind of neostructuralist aesthetic, wherein the novels enact a series of tensions that provide a formal structure, distinct from Levi-Straussian structuralism, insofar as the author is aware of the binaries as useful heuristics rather than as necessary universals. As Mitchell told Adam Begley concerning a later work, “Black Swan Green is carefully structured—like all halfway decent books” (“David Mitchell”) and this structure is essential to his project. In this essay, I will use Cloud Atlas as a case study to demonstrate how David Mitchell’s novels explore the problematics of language using a systematic binary logic, resisting the Derridean deconstruction made

Acoustics · Aesthetics · Art · Art history · Atlas (anatomy) · Cloud computing · Epistemology · Eschatology · Linguistics · Literature · Nothing · Operating system · Physics · Postmodernism · Silence · Sound (geography) · Theology · Vision · Classical Antiquity Studies · Computer Science · Contemporary Literature and Criticism · Geology · History · Medieval Literature and History · Paleontology · Philosophy · Syntax, Semantics, Linguistic Variation

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