The title of “The Original” refers to: A. The painting its heroine, Grace, copies. B. Grace’s cousin, Charles, who disappears and then (allegedly) returns, more than a decade later. C. The idea that we are all constantly changing and that trying to revert to a previous version of ourselves dooms us to failure.
I’m sure there are more interpretations of that title in Nell Stevens’ (“Briefly, a Delicious Life”) tricky novel. Set in the late 19th century, it’s a gothic tale that opens with a double bang: We’re introduced to a family curse (because of a broken promise, Grace’s family lacks male heirs) and a haunted, indestructible painting (the family burned it — only to have it “reappear” in what we know is actually Grace’s re-creation).
The instigating event in “The Original” is Charles’ return. Is he who he claims to be or a fortune hunter, bent on claiming an inheritance? But the spine of the book is Grace’s story, as she figures out what she wants in a society that forbids her to do much of anything.
Grace’s singular quality is that she cannot recognize faces. It’s a disaster when she attempts to paint portraits but a superpower when she turns to forging great works by Vermeer, Velázquez and others. Instead of worrying over facial expressions in canvases, she simply reproduces brushstrokes and colors with a kind of paintographic memory.
She does something similar with the people around her, whom she learns to recognize by voices and mannerisms. Our narrator, Grace seems able to tumble immediately to the central truths of things. Maybe it doesn’t matter if Charles is an impostor if he’s essentially a good person? And maybe it doesn’t matter if that painting hanging in a collector’s home is a real or fake Botticelli — as long as they find it beautiful?
Like TV’s “Mad Men‚” “The Original” exists in a between place that takes place in its own time but asks us to weigh its depiction of the past against the present. Stevens’ book, divided into brief cleverly-titled chapters, is attentive to the language and manners of England’s late Victorian era while also looking ahead.
We’re aware that bygone times can be disconcerting (expectant mothers smoking on “Mad Men,” anyone?) but also that plenty of stuff happened that never made it into the novels of Thomas Hardy or Oscar Wilde, who wrote in the period when “The Original” takes place.
This wouldn’t have made their books, for instance, but when Grace falls for a noblewoman named Ruby, the love that dare not speak its name is depicted with restraint and secrecy:
