SHALLCROSS

The latest installment in Porter’s series continues the adventures of a schizophrenic man who, along with a group of misfit friends, embarks on missions of environmental activism.

In Florida, 2002, Aubrey Shallcross and company have scuttled an old tugboat in front of the St. Lucie Locks, making the lock system temporarily inoperable to prevent the “dirty water” from Lake Okeechobee from contaminating pristine estuaries. Fearing capture after their daring deed, the 58-year-old Shallcross takes his family and friends—some of whom are “voice hearers” like himself—to the coast of Massachusetts for the summer to stay at an old friend’s farm. The eclectic group includes a wild array of characters: Yuchee, a teenage Seminole boy whose mother has recently died; two giant alligators and their “slippers” (spirits of the dead that can inhabit the brains of animals and humans); Aubrey’s 14-year-old son, Drayton; Half Track, an autistic man; Speedy, a motorcycle stuntman, and his wife, Roberta, “the Woman With No Legs,” who charms snakes; and A. M. Sermon, a former land developer turned eco-warrior, who travels with his best friend, a giant chimpanzee named Kong. Once there, the group becomes entangled in another looming environmental crisis: Criminals plan to steal a recently orphaned baby humpback whale with albinism in an attempt to sell it on the black market. This fast-paced and intricately plotted storyline, involving the crooked captain of a Russian fishing fleet named Sean Iponovitch, is where the author really shows his storytelling chops. As Iponovitch schemes between alcoholic binges, Porter weaves Moby Dick references throughout to add a literary thread to the narrative tapestry. This literary aspect is strengthened by the almost Kerouacian travelogue passages following the characters’ travels up and down the East Coast: “They crossed the southeast Georgia tidal rivers with green-brown wire grass islands out in the middle, until it was over the Savannah River into the state of South Carolina.”

Themes from Kerouac’s On the Road are evident throughout, including the search for meaning in life, the glorious pursuit of freedom, and finding profound significance in the connections between people and places. The author leavens the road novel experience with humor in places; Aubrey calls food purchased from gas stations and roadside convenience stores “shit cakes” (but after his son buys an assortment of junk food, Aubrey says, “Give me one a those Moon Pies, Drayton.” While the cast of over-the-top characters is well-developed and the storyline involving the white whale is certainly entertaining (especially the stand-up-and-applaud plot twist at novel’s end), it’s the way in which the author explores living with schizophrenia (specifically hearing voices) that makes this story unique. The perception of schizophrenia as an affliction is turned on its head: “…that’s what makes you different than a lot of other people, Aubrey. You can look at and hear your subconscious, you are a bloody schizophrenic; a beautifully perfected schizophrenic.” The narrative is complemented by dozens of illustrations throughout that exemplify the strange and wondrous tone of the story perfectly.

An undeniably unique metaphysical adventure.