When you read them together, however, you can observe how each story is “ghostwriting” (or influencing the events of) the others in subtle-yet-powerful ways. This is to say that each chapter in Ghostwritten functions as a self-contained literary experience you can read every story on its own and feel complete without needing to read any of the others. One of the things I appreciate about Mitchell’s first novel, Ghostwritten (1999), is that it offers a sequence of interconnected short stories that each stand alone perfectly. Sometimes these interconnections are subtle - Easter eggs for Mitchell’s constant readers - while at other times they are vital to the core of the narrative. Just as Endgame wasn’t simply the fourth Avengers film, however, but rather the culmination of story lines linking the entire Marvel Cinematic Universe, Utopia Avenue isn’t just the conclusion of a trilogy it connects in various ways with Mitchell’s entire creative oeuvre. Although there’s (thankfully) no sign that this is Mitchell’s final creative work, it does serve as the conclusion of three books that may be regarded as a trilogy: The Thousand Autumns of Jacob de Zoet (2010), The Bone Clocks (2014), and, finally, Utopia Avenue.
In many ways, Utopia Avenue is the Avengers: Endgame of David Mitchell’s novels. Under the guidance of the band’s manager, Levon Frankland - a queer practitioner of the “Dark Arts” - Utopia Avenue rises from obscurity to stardom during a turbulent historical moment of social change, revolutionary protest, and psychedelic enlightenment.
The members of the band include Dean Moss, a blues bassist from a rough, working-class background who navigates a complicated relationship with his abusive, alcoholic father Elf Holloway, a pianist, folk singer, and songwriter coming to terms with her sexuality Jasper de Zoet, an autistic Dutch guitar virtuoso who seems haunted by severe mental illness and Peter “Griff” Griffin, a shaggy dyslexic drummer from Yorkshire.
DAVID MITCHELL’S Utopia Avenue (2020) chronicles the rise of a delightfully improbable genre-defying British rock band in the late 1960s.
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