Mappamundi, 1459
BY Fra Mauro

Maintaining humor and an engaging tone, Turchi explores serious aspects of fiction. Among other inventive methods, he applies geometric order to fiction writing and plot. In this fascinating exercise, the author analyzes realist and post-realist conventions and formulas, suggesting that even the most radical forms of fiction apply certain rules, allowing the reader to discern the new form and expectations, in effect providing a legend for the piece. His geometric arguments and illustrations are complex yet accessible. Using the cartography metaphor as a springboard, Turchi continues on to analyze the portrayal of ‘realism,’ stating that, “Far from being ‘natural’ or ‘straightforward,’ realistic works may be among the most deceptive…” as they conceal their formulaic nature. Much like the usage of perspective in art, realism is a distortion formula designed to fool a reader, who often readily accepts the convention. This is one of many instances where Turchi’s cartography metaphor, illustrations, and argumentation fuse into a delightful presentation of thought. His perceptive discussions of blank space, orienteering and movement, and voice provide fresh points of view into prose and poetry.

The illustrations in Maps of the Imagination reveal the wide range of what could be considered a map or guide. From chess boards to mappaemundi (maps of the world), each are brilliantly displayed in color. These rich and sometimes rare images are a welcome addition to Turchi’s argumentation; such diverse visual samples augment the central points of the book and are appealing as a whole to the reader.

…a thought-provoking and useful book that offers numerous outlets for additional exploration.

Overall, Turchi’s Maps of the Imagination is a thought-provoking and useful book that offers numerous outlets for additional exploration. His enthusiasm for cartography and writing translates into an enjoyable and informative read as he uses the metaphor and imagery to encourage new thoughts and considerations. Readers and writers alike will soon find themselves contemplating the purpose of white space, the omission of certain details in the majority of our fiction, and the geometric form of poetry and prose, among many other aspects of this book. Turchi deftly illustrates that the prime purpose of fiction, like a map, is to orient ourselves to the world, that writing can reveal more about who and how we are than our actual surroundings. It is that impulse of orientation that suggests we will never reach the end of writing or the end of exploration: