Like all of David Mitchell's novels, The Thousand Autumns of Jacob de Zoet is an impressive feat that synthesizes several different genres into a cohesive whole that defies traditional literary expectations. Mitchell is known for writing epic novels that weave together ideas, characters, and entire forms of literature into one great, tightly woven volume, such as his most popular work, Cloud Atlas. Each of his novels, however, is still extraordinarily distinctive, and The Thousand Autumns of Jacob de Zoet is certainly quite different from Mitchell's previous works. Instead of drowning his reader in satisfyingly fast action, development, twists, and resolution, Mitchell takes a Tolstoy- or Hugo-like approach, at least for the first half of the novel, which is a slow, thoughtful exposition of de Zoet's life on Dejima.
Jacob, like most of Mitchell's characters, is well fleshed-out and eminently relatable while remaining entirely distinct. He's a devout Christian and a moral perfectionist, but this doesn't alienate him from his audience; rather, being put in his shoes, the reader grows to despise the corruption of the Dutch East Indies Company just as much as Jacob does. Although his moral compass is sound, it doesn't mean he's without faults: despite being pure in motive, he has his moments of weakness (including his one-night stand with a prostitute), and despite the nominal supremacy of his reason, he is often led astray by the whims of his heart.
Even though the hopes, dreams, and machinations of Mitchell's characters form the novel's action, the real primary focus of The Thousand Autumns might be said to be the setting. Painstakingly researched, Mitchell has created an entire world within the span of these pages, brought to life with extraordinary detail and a complete sense of immersion. Set at the turn of the nineteenth century, the story takes place on the coast of Japan, alternating between the city of Nagasaki and the coastal island of Dejima, the latter of which is used as a Dutch trading center. Major power struggles and minor humorous inconveniences are given equal weight in this representation, creating the perception of "real life" in this fascinating crossroads of cultures. Jacob's European mindset contrasts greatly with that of the native Japanese, such as Ogawa Uzaemon, yet somehow both characters are relatable. Mitchell has brilliant insight into the nature of man, and his characters are carefully crafted to bring this ability to light.
Another characteristic of Mitchell's work (excluding only The Bone Clocks) is a sense of absolute realism adulterated with teasing traces of the supernatural. This marriage of enchantment and disenchantment is particularly notable in The Thousand Autumns: for most of the book, life seems to function entirely within the terrestrial, rational sphere, and as a historical drama, this quality is unsurprising. As the book progresses, however, the surprised reader begins to suspect that there's something happening beyond the world they have imagined. By dropping hints and giving clues, Mitchell works his way up to the big reveal: Enomoto is sacrificing babies and consuming their blood in order to extend his life beyond mortal years. This revelation by itself would make this novel seem like gothic horror/fantasy. And yet the novel still feels like a historical drama; Mitchell cloaks this terrifying truth in layers of historical accuracy and ambiguous phrasing, and the exact nature of this supernatural force is never discovered (or even seen).
As a whole, The Thousand Autumns of Jacob de Zoet is a magnificent work of fiction that can be called either a masterpiece or a failure, and neither one of these charges accurately captures a picture of the whole. Yes, it's imperfect, but it's also touching, supremely controlled, and appealing, perhaps even because of some of these minor flaws. David Mitchell has produced yet another incredible, distinctive novel that sets him apart.
