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58 pages 1 hour read

Hervé Le Tellier, Transl. Adriana Hunter

The Anomaly

Fiction | Novel | Adult | Published in 2020

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Background

Literary Context: Oulipo

Hervé Le Tellier has been a member of the avant-garde literary group Oulipo since 1992 and its president since 2019. Oulipo is short for Ouvroir de littérature potentielle, or the Workshop of Potential Literature. It began as a literary movement in 1960, founded by Raymond Queneau, François Le Lionnais, and other writers and mathematicians. Members of Oulipo experiment with combining writing techniques and mathematics, adding arbitrary constraints to the creative process. Some of the more famous examples of Oulipo literature include Georges Perec’s 1969 novel A Void, which lacks the letter “e,” and the N+7 method, in which every noun in a text is replaced with the seventh noun after it in a dictionary. These arbitrary rules turn literature into a game between the writer and the reader; the reader observes the writer as the latter tries to solve the puzzle that they have created for themselves.

Le Tellier is the first writer of the movement to receive the Goncourt Prize. Though it does not seem so at first glance, The Anomaly is an Oulipian novel. The introduction of a second airplane and a copy of each of the novel’s characters transforms the novel’s linear stories into endless possible chance encounters and outcomes. Le Tellier challenged himself to keep track of the whereabouts and mindsets of two sets of identical characters as they diverge and evolve across 106 days. Meanwhile, each character corresponds to a different literary style or genre. For instance, Le Tellier writes the hitman Blake in a hard-boiled style, but he writes the interactions between Adrian and his love interest as romantic comedy. By intertwining multiple genres in this complex and arbitrary structure, Le Tellier allows the novel to generate its own readings.

Philosophical Context: Simulation Hypothesis

The introduction of a second, identical airplane forces the novel’s characters to theorize how such a phenomenon might be possible, and the most popular theory to emerge in The Anomaly is the “simulation hypothesis” originated by the philosopher Nick Bostrom. Bostrom’s 2003 hypothesis proposes that, if computing power continues to grow exponentially, eventually our descendants will have the technological capacity to create simulated realities full of conscious people. Bostrom suggests that this future generation might use this technology to run multiple detailed simulations of the past. If that is the case, probability would suggest that it is more likely we are in one of the simulated realities than in the original one.

Bostrom’s hypothesis is a continuation of many other philosophical inquiries into the nature of reality. René Descartes, whose famous words “I think, therefore I am” are referenced often in The Anomaly, argued that humans can never truly distinguish the waking world from the dream world. In his skeptical hypothesis, Descartes also proposes the possibility of an evil demon who sabotages the way we see, hear, touch, et cetera. Thus, Descartes concluded, we can never rely on our perceptions. Humans can never know, without doubt, whether what we perceive is real. In The Anomaly, the presence of the second airplane causes the characters to grapple with the idea that they and everything around them is merely a representation created from nothing. As novels, too, are simulations, Le Tellier uses this metaphysical dilemma to draw connections between the simulation hypothesis and the novel as an art form.

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