The vanishers

Heidi Julavits

Book - 2012

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Subjects
Published
New York : Doubleday [2012]
Language
English
Main Author
Heidi Julavits (-)
Edition
First edition
Physical Description
284 pages ; 25 cm
ISBN
9780385523813
Contents unavailable.
Review by New York Times Review

THE darkly comic world of Heidi Julavits's latest novel contains warring psychics, missing people who've deliberately vanished themselves, twisted avant-garde filmmakers, absent mothers, striving academics, plastic surgery enthusiasts, Sylvia Plath obsessives - and the people who love to hate and pursue all of them. Beneath this hyperactivity, the novel deals, fundamentally, with the "economics of revenge" and a daughter's search for her mother. It is told in Julavits's signature style: sharp-eyed, sardonic, hilarious. The author of three previous novels ("The Mineral Palace," "The Effect of Living Backwards" and "The Uses of Enchantment") and a founding editor of the literary magazine The Believer, Julavits is at her acrobatically linguistic best here. Nearly every page contains a showstopping description or insight. A Barcelona chair becomes a fully eroticized object - "the angle of recline, the shortened legs, the offered-to-the-sky cant of the seat, it was engineered perfectly for someone to give, for someone to receive" - while a pair of plastic surgery patients, "given their gigantic white head-bandages and the underwater slowness with which they moved," resemble "very relaxed astronauts." The novel's narrator is Julia Severn, a talented young student at a renowned institute for psychics in New Hampshire, where she is acolyte to the narcissistic Madame Ackermann. Julia is chosen to be her idol's stenographer, a job that entails transcribing the "regressions" for which Madame Ackermann has become famous in the occult world. Except that the Queen of Divination's trance states are a huge, yawning bore. In part to spare her teacher the embarrassment of coming up empty, Julia begins to fabricate Madame Ackermann's memories, telling her that "she'd spoken in the voice of an Argentinian-born psychotherapist living in London during the Falklands war, a woman who'd engaged in amatory adventures with her cabinet patients in order to acquire strategic military information for her brother, a commander of the Argentine Navy." And so on. Madame Ackermann grows suspicious of these increasingly elaborate deceptions but soon discovers discrepancies in one of Julia's tall tales that reveal her student's emerging psychic talents. In a jealous rage, Madame Ackermann - who eerily resembles Julia's dead mother - inflicts a near-lethal psychic attack on her hapless stenographer, who then retreats into a pill-popping, zombielike existence in New York City. "I'm living the dream," Julia deadpans to an inquiry regarding her copious ingestion of prescription medications. "Bewildered girl in her mid-20s moves to the big city . . . and dulls her existential disorientation with drugs." Julia's narrative voice is superb. Funny, self-deprecating, exquisitely attuned, she speaks as if the entire acreage of her skin were a listening device. Nothing is lost on her, and she's as unsparing about herself as she is of those around her. This pointed, fragile honesty makes her a winsome heroine, even in the most far-fetched of circumstances. When her father and stepmother, Blanche, visit her out of concern for her health, their awkward interactions provide first-rate drawing-room comedy. Julia's father, a sinkhole specialist who remains emotionally paralyzed over his previous wife's death, "expressed physical affection like a bad mime. He threw himself at me and administered the Heimlich maneuver of hugs." Meanwhile Blanche, a wacky, well-meaning sort, is a voice of easily skewered earnestness. After months of illness and a deadend job as a showroom model at a flooring company, where she is made to fake speaking Arabic, Julia is lured - partly through trickery, partly through a desire for revenge - into searching for a missing French filmmaker, Dominique Varga The catalysts for this mission are Alwyn, a morose connoisseur of arty underground pornography films, and Alwyn's partner, an ambitious, thwarted academic (is there any other kind?) named Colophon. They persuade Julia to undergo a psychic rehabilitation in hopes that she'll track down Varga, a blisteringly scathing artist many people might have wanted dead. Julia has her own reasons for joining this Pyrrhic search, having discovered that her birth mother - who committed suicide when Julia was only a month old - spent time with Varga shortly before her death. Julia is thus inducted into the murky world of the "vanishers," where the extremely distraught are helped to disappear in a kind of witness protection program. Their only trace: a vast library of goodbye testimonial films, "a living mortuary, a hopeful grief museum," to which Julia halfheartedly contributes in order to stage her own temporary disappearance. This, however, is where the story goes awry. As Julia regains her powers, first at a European safe house that doubles as a plastic surgery recovery center, then at another that treats schizophrenics (and is unfortunately named Breganz-Belken), the plots and subplots, double dealings, surgical impersonators, paparazzi, hallucinations, thefts and swaddling of wounds, psychic and otherwise, begin to drag on the novel's momentum. While the language remains vivid, its satisfactions are overwhelmed by the confusion of the overdetermined plot. In her search, Julia is subjected to traumatizing regressions, a recurring wolf apparition that appears behind her eyelids (Madame Ackermann's psychic signature), cyberbaiting by an unknown stalker, creepy attention from a Hungarian skin-care heiress and real-life discoveries (of an extraordinary cache of Varga photographs, for instance) that contribute, piecemeal, to revelations about her mother's past. Over all, the stakes feel artificially pumped up by the hectic narrative, which labors to deliver forced surprise after forced surprise. Earlier, Julia professes a mistrust of happenstance: "After a while you can begin to feel stalked by coincidence, or as though you can manipulate the world by expressing a narrative desire - this thread is loose, this thread inconclusive." Regrettably, "The Vanishers" becomes a victim of its own dizzying coincidences. AS a result, the novel's more serious concerns - deliberations on how the past suffuses the present, the ultimate unknowability of another's grief, the painstaking task of constructing history in the absence of witnesses, the weight of emotional inheritances - are swamped by less interesting minutiae. For many of the characters here, vanishing becomes a way of life, of coping with the unbearable, of transmuting identity into a more manageable, if anonymous, existence. Identity, like so much unwanted history, is a burden to be shed. Underscoring these preoccupations are intermittent allusions to the suicide of Sylvia Plath, which play like a recurring loop of a grainy family movie. Julia asks herself: Would she prefer to have her mother dead, or to have her alive but unknown to her? "My answer was ugly and unequivocal. Given the choice, I'd prefer her dead. To kill yourself was to say to your family members, I can no longer live with myself. To vanish was to say, I can no longer live with you." Such feelings are compounded by the loss of Madame Ackermann, Julia's dubious mother substitute. But this potentially fascinating terrain gets lost in the hermetic clutter of who is deceiving (or being deceived by) whom. One of the pleasures of reading novels is the possibility of stopping time and savoring, for a brief eternity, a character's deepest yearnings and illuminations. When Julavits pauses long enough to let us catch our breath, the results are frequently remarkable. Toward the end of the book Julia assumes a kind of emotional kinship with Plath's orphaned children, who must know "the sad ways that a mother's love can be amplified or reduced to acts both monumentally considerate and monumentally selfish." For heartbreaking pleasures like these, I would, despite this novel's flaws, still follow Julavits anywhere.

Copyright (c) The New York Times Company [March 18, 2012]
Review by Booklist Review

Julavits (The Uses of Enchantment, 2006) remains intrigued by the dramatic and comedic potential of the paranormal. In her brain-teasing fourth novel, Julia, a student at the Institute of Integrated Parapsychology, runs afoul of the famous Madame Ackermann. Once Ackermann realizes that her protege succeeded where she failed in helping film historian Colophon Martin in his quest for information about the vanished French filmmaker Dominique Vargas, she exacts occult revenge, causing Julia to suffer from an unidentifiable, viciously debilitating malady. Alwyn, an angry and secretive rich girl working with Colophon, takes charge. Sequestered in bizarre, clandestine clinics, Julia finds that her psychic powers flash like heat lightning as she discovers that Vargas' story is entangled with that of her mother, who killed herself a month after Julia was born. In a convoluted plot stoked by diabolical humor and wry suspense, Julavits nearly squanders the novel's potential for deeper inquires. Instead, monstrous mother-figures and life-or-death power struggles evoke poignant questions about blame and forgiveness, inheritance and independence, memory and grief, and the obdurate mysteries of trust and love.--Seaman, Donna Copyright 2010 Booklist

From Booklist, Copyright (c) American Library Association. Used with permission.
Review by Publisher's Weekly Review

A young student surpasses her troubled mentor, unleashing much wrath, in Julavits's wry, witty new novel (after The Uses of Enchantment). Julia Severn is a mediocre student at New Hampshire's Institute of Integrated Parapsychology, which is no Hogwarts. Frauds mix with the rare mystic, and students attempt-mostly in vain-to telepathically petrify hunks of pork. Enigmatic psychic diva Madame Ackermann handpicks Julia to be her stenographer, spreading jealousy until Madame feels threatened by Julia and morphs from harmless dingbat into sinister sociopath, ousting the student and debilitating her abilities. Relocated to New York, Julia finds work that is so odd it's often mistaken for performance art. As she begins to recover her abilities, she meets the mysterious Alwyn and finds her fortune deeply intertwined with a missing feminist French filmmaker who may hold insight about her dead mother. Julia comes to discover much about herself, the world, and her formidable former mentor. Packed with a revolving cast of faces, the story frequently switches into the past, especially at the outset, which can create confusion. But the overall effect is magical, and Julavits's often acerbic prose generates laughs despite the sad reality of Julia's life. Agent: Henry Dunow, Dunow, Carlson & Lerner. (Mar.) (c) Copyright PWxyz, LLC. All rights reserved.

(c) Copyright PWxyz, LLC. All rights reserved
Review by Library Journal Review

Readers who seek out challenging, multilayered novels will enjoy tackling Julavits's (The Uses of Enchantment) latest, which blends psychology and the paranormal with a dose of satire. Julia Severn enrolls at The Workshop, an exclusive graduate school for psychics, intent on honing her talents to make contact with her dead mother. Instead, she angers Madame Ackermann, who plagues her with a psychic attack that causes mysterious maladies and terrible visions of her mother's suicide. Sent to an Austrian spa in an attempt to "vanish" from her tormentor and regain the energy needed to "regress" through time to track down an elusive feminist pornographic filmmaker, Julia stumbles through consciousness and past lives. Julavits throws in surprising, original descriptions (one character looks "so convalescent apres-ski" while another has "eyes starfished by mascara"). VERDICT This novel is reminiscent of Arthur Phillips's The Egyptologist: clever, humorous, with supernatural elements. While one can easily get confused about what is real and what is imagined, readers who surrender to the narrative may be rewarded with rich insights about losing a parent. [See Prepub Alert, 9/11/11.]-Christine Perkins, Bellingham P.L., WA (c) Copyright 2012. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Review by Kirkus Book Review

The Uses of Enchantment, 2006, etc.). At New Hampshire's Institute of Integrated Parapsychology, Julia Severn is selected to record Madame Ackerman's words as she roams the cosmos. But Madame Ackerman's "regressions" are actually extended naps, so Julia begins inventing psychic revelations. Shortly after Julia envisions actual information sought by a client of Ackerman's, who is trying to find controversial filmmaker Dominique Varga, she becomes so ill she has to leave the Institute. A year later, mysterious new acquaintance Colophon Martin tells Julia she is the victim of psychic attacks by Madame Ackerman. Her only solution is to avail herself of the services of his company, vanish.org, which helps people disappear from untenable lives. Colophon offers to help Julia because he's that former client of Madame Ackerman's; Julia's psychic abilities have been suppressed by her ailments, and he needs her to get well to find Varga, who disappeared in 1984. Julia's willing, because her anxious father has revealed that her mother, an artist who committed suicide when Julia was one month old, knew Varga, who "made your mother believe death could be an artistic act." The connections only grow more sinister (and far-fetched) after Julia checks in to the Goergen, a refuge in Vienna for vanishers of various sorts. What is the true identity of the fellow resident who claims to be "Hungarian skin care royalty?" Is Madame Ackerman behind the emails Julia keeps getting from "aconcernedfriend"? What happened in Room 13, 152 West 53rd Street, on October 24, 1984? Julia's ailments recede, and her psychic powers grow, but she still seems clueless as the story lumbers towards an extremely elaborate denouement culminating in a confrontation with Madame Ackerman. A searing final section very nearly redeems all this clutter, as Julia returns to New Hampshire to unmask the real culprit and to make the grimmest sort of settlement with her dead mother. Intelligent and ambitious, but also heavy-handed and alienating.]] Copyright Kirkus Reviews, used with permission.

Copyright (c) Kirkus Reviews, used with permission.

The story I'm about to tell could be judged preposterous. Fine. Judge how you must. Protect yourself by scare-­quoting me as the so-­called psychic, the so-­called victim of a psychic attack. Quarantine this account however you must so that you can safely hear it. What happened to me could never happen to you. Tell yourself that. Even though what happened to me happens to people like you all the time. In the beginning, an attack can look just like regular life. You wake to discover eyelashes on your pillow, bruises on your skin where you've never been touched. You smell a stranger on your bedsheets and that stranger is you. As the weeks pass, you notice other humiliations. An unceasing bout of acid reflux and an irritable bowel. Gums that bleed when you sip hot tea. Fingernails that snap when you push your hands through the sleeves of a sweater. The ghostly withdrawal of pigmentation from your cheeks. A rash on your torso. A rash on your hands. A rash on your scalp. And so it goes, your body's hurtle along a failure trajectory that no doctor can explain. There is only the numb leg, the searing esophagus, the face--­its frostbit complexion, its vinegar stare--­you no longer recognize as your own. I'm overworked and need to take more vitamins, you'll tell yourself. Maybe I'm allergic to wheat or my new car. Maybe I'm depressed, or not enough in love anymore with my life, my spouse, my self. You'll schedule beach vacations or more time at the gym, but no matter how many times you dunk yourself in oceans or flush the liquid content of your body through your pores, you can't escape the suspicion that a cancer drifts through your anatomy, that it will soon metastasize to your personality, that it is only a matter of time before it breaches the cellular firewall encircling your soul. When this happened to me, I did what people do: I saw my doctor. She sent me to another doctor. And he to another. I saw so many, many doctors. I was pricked and I was bled, I was leashed to computers, scanners, drips, I was MRI-­ed, EEG-­ed, and CT-­scanned, my body subjected to a battery of lie detector tests that, because the claims it spouted were deemed inconclusive, it apparently did not pass. I acquired a medical file so thick it practically required its own gurney to be moved. I was greeted by each new specialist with a weary smile. I was patronizingly quoted Donne. ("There is no health. We, at best, enjoy but a neutrality.") Because the doctors could not cure me, they decided I could not be sick. They told me it was all in my head. Namely, I was to blame. I was the sickness. Which I don't deny. I brought this on myself. I failed to take the proper cares and cautions, I failed to live invisibly or wisely. Besides, don't the healthy always suspect the afflicted? She drove herself to exhaustion. She was so stressed out. She never dealt properly with the death of her mother. All of this is true. However. I cannot take all the credit. I say this humbly, not reproachfully. Someone else made me sick. Let me explain this in terms you can understand. People make people sick, it is not a stretch to claim this. What remains up for debate is the degree of malice involved when a person makes another person sick. Did your sister, for example, intend to give you her head cold? In most cases, not. We do not blame head colds on other people's heads, we blame them on their bodies. But what if your sister or girlfriend or roommate or coworker intended to give you a cold? What if, while you were in the bathroom, he or she coughed on purpose into your water glass? And what if we're not referring to people as carriers of disease but people as diseases? The self is a source of contagion, oftentimes an unwitting one. He makes me sick, you've said of your ex-­boyfriend. She's toxic, you've said of your boss. And maybe he did, maybe she is. After you become afflicted, after the doctors finger you as the cause, it's instinctual to blame others for your physical misfortune. But blame is lonely, and your loneliness is compounded by the fact that you're scared to go outside. To be near others is to risk further exposure and, worse, humiliation. Even your best friend can't help staring at the sores on your mouth. In retaliation, to preserve whatever small amount of pride you still possess, you become the secret curator of the suffering of others. Homebound now, you do online searches for people from your past. You're pleased to discover that your college roommate's looks have been lost, that a former coworker's start-­up went bankrupt, that an ex-­girlfriend's Broadway dreams did not pan out. You spend your days monitoring demises. You become, over time, the connoisseur of downfall, a covert expertise that distracts you from your own decline. You might realize, as I realized, that there exists one individual whose downfall over which you fixate, even obsess. For me that individual was a woman named Dominique Varga. She was a mother to me when no one else wanted the job. My own mother killed herself a long time ago. But your obsession might be a basketball coach, a softball coach, a graduate TA, a personal accountant, or a special, unlucky stranger you choose at random, as though from a police lineup, and falsely accuse. Why be fair? Nobody's been fair to you. Monitoring this person's disappointments functions as a course of steroids might, each new failure for her registering as an improvement for you. Her marriage implodes, your rash subsides. The economics of revenge. Your stock rises as hers declines. Perhaps you befriend her, and send the occasional e-­mail. Otherwise you watch and harmlessly wait for your fortunes to reverse. But what if you are not the only victim here? What if your daily online visits to this person whose ruin you've charted are not so benign? What if you are not a spectator to her demise? What if you're to blame for her shitty life? What if you are her disease? In other words, this is not just a story about how you can become sick by knowing other people. This is a story about how other people can become sick by knowing you. part One The attack, we later agreed, occurred at Madame Ackermann's forty-­third birthday party. The evening was typical for late October--­icebox air, onyx sky, White Mountains humped darkly in the distance, and peripherally visible as a more opaque variety of night. Because I knew that Madame Ackermann's A-­frame would be underheated, I wore a wool jumper and wool tights and a pair of silver riding boots purchased from the Nepalese import store, run by an aging WASP hippie. Hers was one of seven businesses in the town of East Warwick, New Hampshire (there was also a vegan pizza parlor, a hardware store, a purveyor of Fair Isle knitwear, a bank, a pub, and a real estate agent), a town that existed in the minds of some to provide basic material support to the faculty and students at the Institute of Integrated Parapsychology--­referred to locally, and by those in the field, as the Workshop. That I--­Julia Severn, a second-­year initiate and Madame Ackermann's stenographer--­had been invited to her forty-­third birthday party was an anomaly that I failed to probe. When I let slip to my stenographic predecessor, Miranda, that I had been asked to Madame Ackermann's for a social occasion, Miranda tried to hide her wounded incredulity by playing with the pearl choker she habitually wore and, in apprehensive moments such as these, rolled into her mouth, allowing the pearls to yank on the corners of her lips like a horse's bit. Madame Ackermann observed a firm boundary between her academic and personal lives, Miranda said, removing her pearls halfway, wedging them now into the recession above her chin. She was not the kind of professor, Miranda cautioned, straining her necklace's string with her lower jaw until it threatened to snap, to invite an initiate to her house for a social occasion, not even as a volunteer passer of hors d'oeuvres. Miranda's jealousy was understandable. Madame Ackermann's attentions were the prize over which we initiates competed, the reason we'd come to the Workshop--­to study with her, hopefully, yes, but in more pitiable terms to partake of her forbidding, imperial aura by walking behind her on the many footpaths that vivisectioned the campus quad into slivers of mud or grass or snow. Thus, I reassured Miranda (who, despite the year she'd spent as her stenographer, clearly did not know Madame Ackermann), one of the many admirable qualities Madame Ackermann possessed was that, even as a relentless investigator of past lives, she could permit bygones to be bygones. Yes, she'd selected me, from a pool of thirty-­five initiates, to be her stenographer, and yes we'd both immediately come to regret this choice of hers. But after weeks of misunderstandings, deceptions, and hostilities between us, Madame Ackermann was not above extending an olive branch. And so on the night of October 25 I donned my silver boots and, awash in optimism and specialness, drove to Madame Ackermann's A-­frame. As I passed the custodian-­lit Workshop buildings, their windows flickering behind the spruces, I allowed myself to view the scene from the future perspective of an older self, wrought by nostalgia for this place I'd yet to leave or miss. In order to prolong my anticipation of what was sure to be a momentous evening, I took the scenic way along the Connecticut River; in the moonlight, the water, whisked to a sharp chop by the wind, appeared seized into a treacherous hoar of ice. I spied a hunter emerging from an old barn whom I mistook, for the shadowy half second before my car beams illuminated him, to be wearing the decapitated head of a deer. A bat died against my windshield. And yet despite these dark portents I somehow failed to divine, as I turned off the river road and began the slow ascent to Madame Ackermann's A-­frame, that I would never drive along this river again. Or that I would drive along this river again, yes, but I would no longer be the sort of person who wore silver boots to parties and believed that bygones could be bygones. Madame Ackermann greeted me at the door, eyes starfished by mascara, hair a slab of polished obsidian against the puffball white of her sweater, and dropped my birthday present--­a warm bottle of Tokay--­on a credenza beside the pile of regifted chutneys and spice rubs from her colleagues. Then she led me to her great room, an inverted-­V-­shaped atrium lined with book shelves (the books secured by a series of crisscrossing bungee cords), packed with her friends and coworkers, the majority of them men. In retrospect: I should have found it odd, given she'd presumably forgiven me, that she should refuse to meet my gaze, that she should take the first available opportunity to slough me onto the other guests. "You know Julia," she said, shoving me into a trio of professors, all of whom, though I'd studied with each at one point or another, regarded me blankly. "She's my archivist." The trio (Professors Blake, Janklow, and Penry) resumed their discussion of the death of a Workshop professor named Gerald, their eyebrow hairs antenna-­like as they derisively extolled Gerald's virtues. "Archivist," Professor Blake said to me. He pronounced archivist with a judgmental inflection. "Stenographer," I clarified, "is the original service she hired me to perform." I did not mention the word demotion. I'd been hired as her stenographer, true, but I'd recently been demoted to the position of archivist. I glanced at Madame Ackermann to see if she'd heard me; I didn't want to appear to be contradicting her in public, especially now that our relationship was presumably on the mend. She was preoccupied, fortunately, by the sight of Professor Elkin huddling with Professor Yuen behind a kentia palm. Professor Yuen wore her hair in two long braids that narrowed to tips like floppy knives; she spoke to Professor Elkin about a topic that required her to bullet-­point the air with an index finger, no doubt something to do with the recent dissolving of the Princeton Engineering Anomalies Research laboratory, and whether its failure sounded a death knell for the Workshop's future prospects as well. "Ah," said Professor Janklow. "Stenographer." He held between his thumb and forefinger a half-­eaten shrimp. He eyed the goblet of cocktail sauce on the table beside him, clearly wondering if he could dip his shrimp a second time without being spotted, or calculating the amount of time one must wait to ensure that the same-­shrimp dips are no longer seen as consecutive acts, but as two unique events. "Samuel Beckett was James Joyce's stenographer," I said. "Secretary," said Professor Janklow. "Did you ever study with Gerald?" asked Professor Blake. "Before he died, I mean?" "In fact that's a myth about Beckett," said Professor Penry. "Couldn't make a martini to save his life," said Professor Janklow. "Gerald wasn't a fellow who could grasp the subtler requests such as whisper of vermouth." "Poor Gerald," said Madame Ackermann, returning to our fold. I suspected it from her insincere tone: she had slept with the man. "You, however," said Professor Janklow, presenting his empty martini glass to Madame Ackermann, "are all subtlety and whispers." Madame Ackermann twisted downward on her sweater's cowl neck to reveal a turquoise filament of bra and a décolletage dotted by pale moles. This gesture was meant to suggest that she was embarrassed by the compliment, while also suggesting that she was not remotely embarrassed by it. No one, least of all me, would deny that Madame Ackermann, even at the dawn of forty-­three, was a bewitching, pixie creature, girlish the term most often used to describe her mixture of naïveté and wiliness, her middle-­parted night hair and Eva Hesse Bavarian élan, her habit, during class, of placing one foot on her chair and resting her chin atop a corduroyed knee. She'd preserved her body, or so it seemed, through sheer force of mind. The suppleness of her gray matter--­I'm ashamed to admit that I'd imagined how it would feel to the touch--­was reflected in the pearly suppleness of her eyes, her hair, her skin. We were all of us--­the female initiates more than the male ones--­in some form of love with her. (The fact that Madame Ackermann so closely resembled my dead mother did not render my obsession with the woman any less complicated.) And thus we tried, as girls in confused love with women will do, in every superficial way to mimic her. We were rapt apprentices of the twisted cowl neck, the peevish cuticle nibble, the messy, pencil-­stabbed chignon. We purchased cardigans in yellowed greens and tarry mascaras, we blended our own teas and sewed them into tiny muslin bags that we steeped in chunky mugs and carried with us to class, our socked feet sliding, like hers, atop the wooden platforms of our Dr. Scholl's sandals. We also slept around. We slept with everyone, but only once. We were, we told our- selves in moments when we felt most pathetic and unmoored, not just imitating Madame Ackermann, we were embracing the culture of the Workshop--­the disloyalty, the distrust, the refusal to be known for fear of what people might actually come to know about you. It was a lonely time. Excerpted from The Vanishers by Heidi Julavits All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.