From Booklist
It's not uncommon to compare the writing of a story to the mapping of a world, but no one has so fully, or so seductively and rewardingly, performed as extended a meditation on this illuminating metaphor as Turchi. A fiction writer, anthologist, and the director of the MFA writing program at Warren Wilson College, Turchi parses with equal insight, knowledge, and elan the making of maps and the writing of fiction. Both involve purposeful omission; both require compression; both are subjective in their perspective, orientation, and emphasis; and both create illusions. Turchi's lively, idiosyncratic, and marvelously well-illustrated history of mapmaking (many cartographic quests are as quixotic as any in literature) is matched by reverie-inducing selections from Melville, Stevenson, Nabokov, Calvino, and Carver, as well as priceless musings on the Marx Brothers and the Road Runner. Ultimately, Turchi contrasts realistic and postrealistic approaches to storytelling, and concludes, "Reality is inexhaustible." Brilliant and pleasurable, Turchi's musing on our innate need to know where we are, where we might go, and why alters our perceptions of not only maps and fiction but also the nature of the mind's terra incognita.
Donna SeamanCopyright © American Library Association. All rights reserved
Book Description
In Maps of the Imagination, Peter Turchi posits the idea that maps help people understand where they are in the world in the same way that literature, whether realistic or experimental, attempts to explain human realities. Drawing on texts as varied as poetry by Louise Glü ck, stories by Kate Chopin, novels by Italo Calvino, the film Memento, and Chuck Jones's Roadrunner cartoons, Turchi explores how writers and cartographers use many of the same devices for plotting and executing their work, making crucial decisions about what to include and what to leave out, in order to get from here to there, without excess baggage or a confusing surplus of information. Turchi traces the history of maps, from their initial decorative and religious purposes to their later instructional applications. He describes how maps rely on projections in order to portray a three-dimensional world on the two-dimensional flat surface of paper, which he then relates to what writers do in projecting a literary work from the imagination onto the page.