When an author creates a character, she can churn through as many re-writes as she’d like until she gets it right. This, of course, is in stark contrast to reality, where people get only one shot. There’s no going back, no do-overs, only an inexorable march to the end.
But what if life were different? Catherine Webb, under the pen name Claire North, offers two worlds where this is possible. In The First Fifteen Lives of Harry August (2014), she introduces the reader to kalachakra, people who are reborn into the lives they’ve already lived. The eponymous protagonist, for example, is reborn 15 times at midnight on the cusp between 1918 and 1919.
This is both wonderful and challenging, Webb explains in her New Books interview.
“It’s both liberating because he can go through his childhood knowing everything that’s going to happen in coming events because he’s already lived it, but it’s also horrendous because he can be 5 years old on his 11th life being treated like a 5-year-old… and being forced to re-live his ABCs even though he’s actually hundreds of years old.”
Touch (2015) offers a different way to escape the drudgery of a single, linear life. The main character, Kepler (a moniker assigned by those trying to destroy it), can travel from body to body with a touch. This allows it to live hundreds of years, experiencing the world like a tourist on an endless trip.
Inevitably, the life of a kalachakra or a body-hopping consciousness can become tedious. Harry August struggles with apathy, having seen that whatever he achieves in one life is erased with the reset of his birth. Kepler, too, struggles to find meaning beyond its focus on survival. The ingredients which ordinary people use to measure their lives don’t matter to Kepler. For one thing, it no longer has a gender because it can occupy men and women with equal ease. Nor does it have to experience even mild discomfort: whenever it encounters anything not to its liking, it can jump to another body. Even a hangnail can be enough to send it packing.
Webb herself is no stranger to multiple identities. A fan of pen names (she switches among Catherine Webb, Kate Griffin and Claire North depending on the genre and audience), she is as dexterous at changing writing styles as she is at inventing engaging characters and plots, although sometimes she’s only aware of the shift in style after the fact, almost as if someone else–her own Kepler perhaps?–had done the work.
“I’m not necessarily aware consciously of a decision to write in a different style. … The story has its own logic. I let that do the work, and then I’m surprised to turn around and discover that Kate Griffin sounds very different from Claire North.”