The sea takes many forms in fiction. It was an adventure playground in Robert Louis Stevenson’s Treasure Island and a rowdy neighbour in Daphne du Maurier’s Jamaica Inn. It played the wine-dark seducer in Homer’s Odyssey and the snot-green tormentor in Joyce’s Ulysses. But while its colour can change and its humour may vary, its fictional properties remain reassuringly stable. The sea is our unconscious, a repository of memory, the beginning and end of all things. It’s what Jules Verne described as the “Living Infinite”.
In Madeleine Thien’s rapturous fourth novel, The Book of Records, “the Sea” is the name given to a gargantuan migrant compound, sprawled on the shoreline a decade or two in the future. Lina and her ailing father, Wui Shin, occupy an apartment on the labyrinthine 12th floor, from where they can watch the refugee boats pull in and depart. The pair have fled the flooded Pearl River Delta, leaving behind Lina’s mother, brother and aunt but carrying three volumes from an epic biographical series entitled The Great Lives of Voyagers. These tattered instalments cover the respective histories of the German-Jewish philosopher Hannah Arendt, the Chinese poet Du Fu and the Portuguese-Jewish scholar Baruch Spinoza. They provide both a link to the past and a sextant to navigate by. The world exists in endless flux, Lina is told, and yet here in the Sea nothing ever goes missing. Its chambers fill and empty like locks on a canal. Different portions of the compound appear to correspond with different decades. “The buildings of the Sea are made of time,” Wui Shin explains.
