FAKE NEWS, real trauma
Kathy Reichs’s new Brennan novel concerns misinformation and is rooted in a personal setback, Ian Mcgillis writes.
When forensic anthropologist Kathy Reichs created forensic anthropologist Temperance Brennan in 1997, a crime fiction dynasty of rare richness and enormous popularity was set in motion. Twenty books and an acclaimed spinoff TV series later comes A Conspiracy of Bones (Simon & Schuster), in which Brennan finds herself a professional lone wolf, at loggerheads with an intransigent boss. She is also getting older in real time, with the frailties and setbacks age can entail — some of them shared with her creator.
Q A Conspiracy of Bones begins with an epigraph from Virginia Woolf: “It is far harder to kill a phantom than a reality.” What’s the significance of it?
A The theme of the book concerns what information is real versus what is fake. On two levels. Because of health issues, and because Tempe is robbed of all of her hard data at one point in the story, she has to determine what is true with regard to what is stored in her head. Can she trust her own perceptions and recollections, the only intel left to her?
On a broader level, people are living in a time when “fake news” and “alternative facts” have become common lingo, in an atmosphere in which the average viewer, listener and reader is constantly bombarded with information, some true, some false. Anyone can get on the air or on the internet and promote any theory he or she chooses, no matter how dangerous or absurd. Distortions (are) coming from people in positions of authority. With so much misinformation being disseminated, it’s hard to kill the “phantom” once it’s out there.
Q Temperance Brennan has been bumping up against some physical challenges, including a cerebral aneurysm and subsequent surgery. Of all the things she might have been subject to, why did you choose that?
A As with all of my novels, I take actual cases and experiences, then tweak the details to create a fictional storyline. But I’ve always been reluctant to reveal details of my personal life. With this book I resolved to change that. I decided to share with my readers a challenge I’ve faced recently. Not long ago I was diagnosed with an unruptured cerebral aneurysm. After undergoing surgery, I am fine. The bottom line: I have a brain oddity and headaches, so our heroine also has the dastardly duo.
Q How significant is it that Temperance finds herself unable to work through an official facility? Does this entail a radical change in her working method? A It definitely does. For the first time, she can’t rely on the support of personnel or technology provided by her affiliation with a medical examiner office or forensic lab. She has to draw on her own network of colleagues. And on her own resources. From a practical point of view, it’s very difficult for her to be an outsider. From a psychological standpoint, doubly so.
Q “Faceless” is a word generally used to denote anonymity and the sense of being lost in a crowd. The body in A Conspiracy of Bones is literally faceless. Should we read any symbolism into this? And for the layperson, how much of a hurdle is the lack of a face in forensics? A No facial features: no visual
ID. No teeth: no dental records. No hands: no fingerprints. A
corpse lacking identifiers — that should be an anthropology case, yet Tempe’s expertise is not requested. For her, the faceless man represents all the nameless dead she is dedicated to naming, all the unresolved deaths she is committed to resolving.
Q What is your work ratio these days? Do your practice and your writing coexist in a structured way?
A At one point not so long ago I was writing a screenplay, a YA book and a Temperance Brennan novel each year. As there is only so much time in the day, that meant something had to go. That something was casework. I still maintain my board certification (American Board of Forensic Anthropology). I attend the annual meeting of my main professional organization (American Academy of Forensic Sciences). I stay current with the latest methodology and technology by reading professional journals. Though I am available should my expertise be needed, I no longer go to any lab with regularity.
Q At this point in your career, do you find that there is a broader awareness of what forensic anthropology is than when you started?
A Absolutely. I’m almost never asked to explain forensic anthropology anymore. There is a global awareness of the expertise. Back in the ’90s, when I started writing fiction, that was definitely not the case. Perhaps 12 seasons of Bones and 19 Temperance Brennan novels helped just a wee bit to create that awareness.
Q Are you aware of people who have taken up forensic anthropology through your inspiration?
A I love when readers or viewers approach me at signings or other events and tell me they have entered the field of forensic anthropology because they were inspired by Temperance Brennan. I am told by colleagues in academia that forensic science programs around the world have come into existence or been expanded because of increased demand by students. Back in 1994 when I began my first novel, Déjà Dead, my goal was to bring my field to a broader audience. I hope I may have inspired a few future scientists. Especially those of the female persuasion!
Q Is Bones officially over? Do you have other adaptation irons in the fire?
A With 246 episodes, Bones is the longest-running scripted drama in the history of Fox.
But the time comes when all good things must end. The cast, crew, producers and writers have moved on and are involved in other projects. A reunion is always possible. I would love that. But for now, you will have to catch Brennan, Booth and the squints on reruns. Last year I was busy pitching, with a partner, an idea for an original scripted drama. And I’m engaged in very early-stage talks about the possibility of a project involving my Virals series. Who knows? Hollywood is a fickle business.