Samanta Schweblin’s astonishing first novel Fever Dream (translated by Megan McDowell) is a tour de force of tension, its brief pages flicking frantically before the reader’s eyes in desperate pursuit of a conclusion. The novel takes the form of a conversation, part police interrogation, part Platonic dialogue, between Amanda and David, the child of a woman she has only recently befriended while on holiday. The conversation takes place in a hospital room where Amanda is convinced she is dying:
“But I’m going to die in a few hours. That’s going to happen, isn’t it? It’s strange how calm I am. Because even though you haven’t told me, I know. And still, it’s an impossible thing to tell yourself.”
“None of this is important,” replies David, “We’re wasting time.” Earlier he insisted, “…we have to find the exact moment when the worms come into being.” And so we also have a battle for narrative supremacy: who will tell the story, and whose story will it be?
Amanda begins with David’s mother, Carla, in her car, crying. Carla tells her the story of her son and the sickness which affected him six year earlier when he was very young. Her husband, Omar, had borrowed a stallion for breeding; Carla notices that the horse has escaped from its paddock and goes in search of it carrying David. They find the horse drinking from a stream and Carla puts David down to collect it. A moment later she turns to find:
“David had knelt down in the stream, his shoes were soaked. He’d put his hands in the water and was sucking on his fingers. Then I saw the dead bird.”
By the next morning the horse is dying and so Carla, desperate to save her son, takes him to a local healer:
“She can tell if someone is sick, and where in the body the negative energy is coming from.”
The woman tells Carla that David has been poisoned and that he will die unless they try a “migration”, that is move David’s spirit to anther body:
“…then part of the poison would with him. Split into two bodies, there was the chance he could pull through.”
While this supernatural strand runs through the novel it is only one reading – initially Carla’s and increasingly Amanda’s – of events. Its importance is in emphasising the lengths mothers will go to in order to protect their children, also seen in Amanda’s obsession with the ‘rescue distance’, that is the maximum distance she can be from her daughter Nina and still be able to rescue her:
“It changes depending on the situation. For example, in the first hours we spent in the vacation house, I wanted Nina close by at all times. I needed to know how many exits the house had, find the areas of the floor with the most splinters, see if the creaky stairs posed any kind of danger.”
Unfortunately for Amanda and Carla they live in a poisoned world full of invisible danger. Where will the threat come from? Will it come from David, alone in the house with Nina?
“This is insane, I think. David is just a little boy. But I can’t help it now. I’m running. I dig in my pocket for the keys and I’m so nervous that even though I have them between my fingers, I can’t get them out.”
Or will it come unexpectedly, unnoticed though your child is standing next to you:
“With the colour of her clothes I can’t tell how wet she is, but I touch her and, yes, she’s wet.
‘It’s dew,’ I tell her, ‘It’ll dry while we’re walking.’
This is it. This is the moment.”
Fever Dream can, of course, be interpreted in many ways. This title itself implies that we should take nothing for granted, that the David Amanda converses with may not be real. It is, however, profoundly disturbing, a novel which seems to threaten the reader with a voice as quietly menacing as David’s. You may find yourself looking up from its pages for your children. You may never feel comfortable again.