(Critical Guide to British Fiction)

The Wonder-Worker begins with the relatively straightforward account of Timothy Fogel’s conception on the Isle of Wight and his subsequent (and unexpected, since his mother did not know that she was pregnant) birth on the floor of Robinson’s tobacco store in London. After Timothy’s birth and the fire that occurs simultaneously (Gerhard Fogel, his father, left the kettle on the stove in the apartment), Dan Jacobson’s readers know that the Fogels are among life’s losers, especially when Gerhard considers the possibility of Mr. Truter’s being Timothy’s biological father. The plot, however, does not proceed until Jacobson’s unnamed narrator introduces himself, describes his creations, the Fogels, as “caricatures, cartoons, cheap satiric spooks” who “parody” real people, and reveals that he “may be in a bad way, in need of a rest” in the institution where he is confined. Throughout the remainder of the novel, Jacobson shifts back and forth from the narrator’s life to Timothy’s life until the creator and his creation apparently fuse.

Timothy’s life is irrevocably shaped by his playground encounter with Susie Sendin when he is four years old. His effort to impress her on the swings, his failure, and her scornful response characterize his relationship with her throughout the novel: her existence is “entwined with his.” When she taunts him about his mother and Truter, Timothy retreats from the real world and discovers that he can transform himself into a brick. While there are limits to his ability to do transmutations—he cannot become Maureen as she dies—the transmutations do provide him with a “release from pain and desire, from time.” In school, Timothy befriends Laurence Sendin, Susie’s brother, and begins to visit the Sendin home, where he steals Susie’s empty spectacle case. When Laurence shows him some of the jewels he has stolen, Timothy keeps one of the rings and puts it in Susie’s case, which becomes the repository for other stones...

(The entire section is 820 words.)


(Critical Guide to British Fiction)

Jacobson, Dan. “Away of Seeing,” in Momentum: On Recent South African Writing, 1984.

Prescott, P. S. Review in Newsweek. LXXXIII (April 1,1974), p. 75.

Roberts, Sheila. Dan Jacobson, 1984.

Sissman, L. E. Review in The New Yorker. L (June 24, 1974), p. 101.

Sokolov, R. A. Review in The New York Times Book Review. LXX (April 21, 1974), p. 4.

Wade, Michael. “Apollo, Dionysus and Other Performers in Dan Jacobson’s South African Circus,” in World Literature in English. XIIl (April, 1974), pp. 39-82.