Though not the finest of the nine novels by this interesting and underrated Canadian, Pilgrim again draws in his favourite themes: madness and history. The central character is an art historian determined to die, but he appears doomed to immortality. The novel opens with yet another of Pilgrim's unsuccessful suicide bids. This time he is "rescued" by a good friend, Lady Sybil Quartermaine, herself wealthy, intelligent and possibly insane. She brings the petulant Pilgrim to Zurich where Jung takes over his treatment. As previously in his complex, inventive fiction, Findley sets history on its head. Pilgrim is a cold, unsympathetic character whose lengthy, highly theatrical declarations are too far-fetched to be interesting. Jung soon takes over as central player. Findley cleverly evokes the professional tensions and rivalries dominating the Burgholzli Psychiatric Clinic. Also convincing is the portrait of the chronically unfaithful Jung's marriage to Emma. It is an erudite, heavily layered, ultimately contrived and dark narrative. Still, Pilgrim, with its echoes of The Picture of Dorian Grey and moments of manic energy, is rich in symbols and ideas.
