Get Your Head in the Bardo

You've probably heard that acclaimed short-story writer George Saunders won the Man Booker prize for his first novel, Lincoln in the Bardo, and you might have even looked up the definition of "bardo" and learned that it's a Tibetan Buddhist term referring to a purgatorial state between life and death; the amount of time you'll spend there reflects how you lived and how you died-- and I'll warn you now: if you tackle this book, you will enter the bardo . . . a meditative state between history and story, fact and fiction, tragedy and comedy, grandeur and disgust . . . and while I struggled at first, because the book is a fragmented post-modern montage of cited recollections, some apparently fictitious, some obviously historical, and many existing in an ambiguous in-between state, but the fact that three of my colleagues successfully passed through the bardo inspired me (thanks, Stacey, Kevin, and Cunningham!) and I kept at it, pondering and plugging along, quotation after quotation, until I reached some sort of enlightenment: there is no reason that death will be any less absurd than life . . . and though Abe Lincoln was mired in the worst kind of war (and he may have been more calculating than most of us learned in school) he was also a loving father and suffered deeply when his son Willie died, but after spending a period of time in awkward and inconsolable mourning, he returned to the land of the living to preside over the country . . . Saunders captures this brief moment and makes something new of it, part poem, part macabre ghost tale, part existentialist tome on the silly and transitory nature of our lives, and part untold history . . . so many people never got a chance to tell their story and become a part of history, and now Willie Lincoln and the rest of the cast have their due.