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The Impossible Bird, by Patrick O'Leary
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There is a place—a world—where famine and poverty do not exist.
Nor sickness nor misery nor unhappiness of any kind.
Is it Heaven?
As two brothers are about to discover,
it’s more like Hell.
Michael Glynn is a hotshot director addicted to a there’s-no-success-like-excess hedonism. Daniel Glynn is a professor of literature, devoted husband, and doting father with a quietly buttoned-down life. Brothers bound by blood. But brothers waging a private civil war—an emotional feud of lies and deceit and dark secrets buried but not forgotten.
But all that is about to change.
One day the brothers are visited simultaneously by gun-wielding strangers claiming to be agents of an elite government security agency. Each brother is questioned about the whereabouts of the other. What they want is “the code.” The strangers are convinced one of the brothers possesses the code, but they aren’t sure which. Having maintained only sporadic contact, Michael and Daniel can be of no assistance. Or so they think. The strangers will not take no for an answer. Their instructions are simple: find your brother or die.
But what begins as a cross-country manhunt—brother converging on brother—turns into an odyssey of discovery neither could have imagined. It is a journey that will take them to a world of perfect human happiness. A world purged of suffering. A world without death. A world where a life can be relived and mistakes corrected.
Both have been given a second chance. The question is, is a second chance what they really need?
For Michael and Daniel the answer to that question will be found by unraveling the mystery of the impossible bird.
- Sales Rank: #6153340 in Books
- Published on: 2003-03-05
- Original language: English
- Number of items: 1
- Dimensions: 8.36" h x 1.01" w x 5.50" l,
- Binding: Paperback
- 368 pages
Amazon.com Review
Daniel Glynn is a quiet, responsible suburban father mourning the recent death of his wife. His brother Michael is a brilliant, hot-tempered Hollywood director. The only woman Michael ever loved left him--for Daniel. It's one of many secrets the brothers keep from each other, and from the world. But Daniel and Michael are rushing toward a strange reckoning. Unknown gunmen have shown up at their doors, claiming to be government agents and demanding that each brother find the other--or die. But both brothers are missing from the world they know, and the new universe they inhabit is a heavenly utopia--a utopia that everyone they meet wants to escape.
Patrick O'Leary's previous books are the novels Door Number Three and The Gift (a Publishers Weekly Best Book of 1997), and the collection Other Voices, Other Doors. --Cynthia Ward
From Publishers Weekly
A zany premise, coupled with realistic characters drawn into a confusing reality, results in a tour de force that handles themes of death, loss and love with panache and a dash of humor. We begin and end with the death of the two main characters, Daniel Glynn, a literature professor, and his brother, Mike, a hotshot film director only they don't know they're dead. A mysterious stranger charges Daniel to find Mike, and holds Daniel's son, Sean, hostage to ensure his compliance. Meanwhile, Mike is set on the same path: to find Daniel. O'Leary (Door Number Three; The Gift) alternates between the points of view of Daniel and Mike as they traverse an increasingly bizarre landscape and slowly come to realize the truth: they're pawns in a game, with two factions at odds with one another, each with its own agenda to end the hideous, utopic "afterlife" they're trapped in, courtesy of aliens working through volunteer hummingbirds, or to preserve it. But Mike and Daniel are special: the aliens that control the afterlife have met them before, and now they have a connection with Sean. The author plays with language, but the nonstandard use of colons and his sentence fragments distract more than anything, although the prose is otherwise clear and direct. The complex structure and layering of textual clues (including an odd recurring character, a woman in a muumuu) allow the reader to make inferences before O'Leary fully clarifies events. The themes of love and loss resonate strongly in this deeply affecting book. Agent, Susan Ann Protter.
Copyright 2001 Cahners Business Information, Inc.
From Library Journal
Two estranged brothers, Michael and Daniel, meet up with strangers calling themselves government agents who believe that each of the brothers possesses a secret code. As the siblings reestablish their bond of love and rivalry, they also uncover the truth behind their mysterious visitors and find themselves faced with a discovery that plunges them into a world beyond their own, where death is nonexistent. The author of Door Number Three blends magical realism with X-Files eeriness to tell a tale of redemption and self-discovery. A good choice for most libraries.
Copyright 2002 Cahners Business Information, Inc.
Most helpful customer reviews
11 of 12 people found the following review helpful.
O'Leary's Best
By Max Callodion
If you don't have a brother, you'll wish you did by the time you are done reading The Impossible Bird -- a profound meditation on familial love wrapped in an intriguing Science Fiction plot. O'Leary's imagination and writing have never been more vibrant. Door Number 3 and The Gift are both great books, but this one blows them both away. I can't imagine there will be too many better novels published in 2002. Definitely worth checking out!
4 of 5 people found the following review helpful.
Flying High
By Amazon Customer
Patrick O'Leary's THE IMPOSSIBLE BIRD rings all the great bells--betrayal, death, forgiveness, and absolution. Lyrical intensity intertwines the polar opposites of Kafkaesque absurdity with the roots of religious thought; the result is Truth, which strikes deep.
The above is a quote of mine, which will appear on the paperback edition. I wanted to add it to this forum.
THE IMPOSSIBLE BIRD is a wonderful book. I can't praise it enough. O'Leary's work is always strange, always original. I think that this is his best novel yet.
3 of 4 people found the following review helpful.
Disappointing compared to previous books by O'Leary
By Glen Engel Cox
I bought The Impossible Bird based on my past experience with Patrick O'Leary, including his wonderful debut novel, Door Number Three, which I commented on here, and The Gift. O'Leary seemed to be some kind of cross between the wild ideas of Philip K. Dick with the literary sensibilities of Gene Wolfe, and in those two books the combination worked very well. And that's why the first 70 pages or so of the The Impossible Bird were such a surprise, and unfortunately, not a pleasant one, for it seemed to be all random violence in endless plot sequence without any textual beauty. I put the book down for weeks and only returned to it today because I had nominated for our monthly book club and the meeting was tonight.
Having now finished it, I still don't think it rises to the level of his previous books but I'm not as disappointed with it as I thought I'd be. I found the theme, that life is not worth living if there's no death to measure it by, to be interesting, if not necessarily something I would agree with, and there was some explanation for the rough violence of the beginning. But mainly I'm left with a sense that the novel suffers from the all too easy comparison to the movie, The Matrix, and while these themes and ideas were around long before that movie, it now looms large in the public consciousness.
The basic story, and I'm trying not to give anything away here, is of two very close brothers with a mysterious connection that goes beyond their familial relation and what happens after their deaths. This life-after-death plot is a lot like Jonathan Carroll's similarly flawed novel, White Apples, in that by removing the reader from the "known" world of reality, a loss of structure becomes very hard for the reader to grasp. It's as if there were no rules left for the writer to have to follow, nor for the reader to assume, and the result is a hazy world of dreams that quickly breaks down into a series of talking heads. O'Leary tries to spice this up with some "bullet-time" action (even going so far in one scene as to actually slow down the bullet so that a character can reach out and touch it), but without the framing world, it quickly becomes full of action and fury that ultimately means little to the overall story (in fact, the little logic of the world starts really breaking down when you start to question "why does it take these three things to escape the matrix, and why not others...").
The ending (and spoilers may be here) tries to resolve this, by working around to a reconciliation of the charaters to the main theme, but the gung-ho plot antics made me care much less for the characters when we got to that end. Like them, I was pretty much just ready for it to be over, which may have been what they were looking for, but isn't necessarily the emotion you wish to evoke from your readers.
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