Some thoughts on
The glassmaker
Tracy Chevalier
The Borough Press 2025
In her novel about the glassmaker families of Murano, which is next door to Venice in the same lagoon, Chevalier uses a slightly unusual technique of slowing down time for the main protagonists of her story. We follow the fates of one family across five generations, but it magically spans more than five centuries (1486 to the present), as time flows more slowly for them. The author uses the allegory of a stone skimming across the lagoon and touching the water several times to visualise the way her characters touch the normal timeline of world events at timepoints separated by decades, sometimes even a century.
As a chemist, I would rather describe the family as an experimental sensor dipped in to probe the times. One could easily rationalise this by prefacing the beginning of each chapter with "What if". What if Orsola Rosso's family had lived during the time when the Black Death first arrived in Venice? What if, only slightly older, they had still been around (minus one or two inevitable deaths) at the time Napoleon conquered the city and handed it over to the Austrians? What if the more mature Orsola Rosso and her grandchildren lived through the Covid-19 pandemic and to the present day?
The advantage of this approach for writer and reader is quite obvious to me - you can have a family history spanning five centuries, without the confusion of going through 15-20 generations of the family involved. It saves time, names, and dead bodies. And in this particular ecosystem, where families really have stayed in the glass making business for centuries, it kind of makes sense. Of course the same people can't be around 500 years later, but their descendants, pursuing the same trade and possibly sharing the same Christian names could be. So it may be less confusing to just use the same cast to dip into the flow of time at various points.
Although, on the other hand it reduces their humanity, as they remain aloof from the times they dip into. I vaguely remember getting a similar feeling in Simone de Beauvoir's novel Tous les hommes sont mortels, where the protagonist is immortal (read 40 years ago). We wouldn't want to do that to real people we're interested in eg from our family history.
Venice and Murano provide a unique test tube for this experiment, with the Venetian cityscape uniquely protected by the lagoon environment which rules out modern development and the Murano glass trade maintaining its traditions in isolation from the world. Thus, while others might feel tempted to apply the dip-in sensor approach to other long-lived trade ecosystems such as wine growing or brewing, I feel it wouldn't work as well without the magical isolation of Venice.
