Brian Moore
The Magician’s Wife by Brian Moore, a historical novel set in 19th century France and Algeria, is inspired by the true story of the famous French magician and illusionist, Robert Houdin. It unfolds through the perspective of Emmeline Lambert, the wife of Henri Lambert, the character based on Robert Houdin.
Henri and Emmeline are invited to the rural estate of Emperor Napoleon III to solicit their help in advancing France’s interest in colonizing Algeria. Henri is commanded to perform magic tricks in front of the Arab rulers in Algeria to deceive them into believing his power of performing “miracles” comes from God and that God is on the side of the French. The goal is to subdue the Arabs into submission and to delay their inevitable resistance to French colonial rule until Napoleon has had time to amass his army to invade Algeria.
Unlike her husband, Emmeline approaches the whole enterprise with moral skepticism. Her doubts about the moral efficacy of their efforts only increase when she arrives in Algeria and witnesses the profound faith and humility of the indigenous population. Henri has no such qualms. Under the direction of Colonel Deniau, he performs his illusions and convinces his Arab audience he has been given special powers by God. Meanwhile, much to Emmeline’s dismay, the French ridicule the Arabs for their superstitions and gullibility. The French eagerly anticipate the arrival of their forces to colonize the country. Emmeline’s conscience prompts her to reveal the truth about her husband’s trickery to the potential Mahdi, a prominent Muslim cleric, in the hope of empowering him to expose the French plans for conquest.
Moore deftly mingles historical figures with fictitious ones. Emmeline is the focus of the story. She discloses the challenges in her marriage, her boredom with life in the French provinces, and her husband’s unremitting focus on his work. She is initially excited at being the object of Colonel Deniau’s obvious flirtation until she realizes that, like her husband, she is being manipulated. Her epiphany is gradual. She concludes Muslims are more pious than the conquering Christians whom, she claims, pay only lip service to their faith. She regrets the part she and her husband played in facilitating French colonialists’ aim to exploit Algeria’s resources and trade routes.
The settings are skillfully drawn. Through Emmeline’s eyes, we witness the pomposity and affectation of Napoleon’s rural estate. And through her eyes, we are immersed in the sights, sounds, smells, and texture of life in Algeria. The seeds of Emmeline’s anti-imperial sympathies are evident in France and come to fruition in Algeria. Moore’s portrayal of her is convincing. Moore also generates sympathy for her husband who believes in his assigned mission and shows courage by a willingness to risk his life for it.