In 'Anima Rising,' Gustav Klimt encounters a young woman under strange circumstances

Summary

NPR's Book of the Day: Anima Rising by Christopher Moore

Release Date: May 29, 2025
Host: Andrew Limbong
Guest: Christopher Moore, Best-Selling Novelist

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Overview

In this episode of NPR's Book of the Day, host Andrew Limbong introduces Christopher Moore's latest historical fiction novel, Anima Rising. The story intertwines the life of the esteemed Austrian painter Gustav Klimt with a mysterious young woman named Judith, blending art, history, and the supernatural. Through an engaging interview with Moore, listeners gain deep insights into the novel's plot, characters, and the author's creative process.

Introduction to Anima Rising

Andrew Limbong sets the stage by highlighting the novel's foundation on the life of Gustav Klimt, a renowned Austrian painter best known for his masterpiece, The Kiss. He notes, “the beauty of historical fiction is that when it's done right, you don't really need to know who Gustav Klimt was ahead of time” (00:02), emphasizing Moore's ability to craft a compelling narrative even for those unfamiliar with Klimt's work.

Encounter with Judith

Scott Simon delves into the novel's inciting incident:

“A man walks home one night after an evening of debauchery in 1911 Vienna, looks down from the Rosshauer Bridge and spies the figure of a woman under strange circumstances...” (01:13)

Christopher Moore explains that Gustav Klimt's initial reaction to the woman, Judith, is driven by her uncanny resemblance to the ethereal female figures he often paints. “[...] she resembles so many of the paintings that he's done of women sort of floating ethereally in a dream very often” (02:04). This resemblance compels him to document her presence, setting the story in motion.

Judith's Mystical Nature

As Kenneth continues, Moore reveals Judith's enigmatic qualities:

“Judith, it turns out, is over 100 years old. And her story begins on a ship mired in the ice in 1799...” (05:40)

Judith's origin is shrouded in mystery, having been discovered frozen and later awakening without memories. Her otherworldly presence raises questions about her true nature, blending historical reality with fantastical elements.

Supporting Characters: Wally Knuts and Historical Figures

The conversation shifts to Wally Knuts, a model based on a real person in Klimt's life. Moore describes Wally as a pivotal character:

“Wally is waiting for him because she's been evicted and has no place to go. And Klimt's studio was a freestanding house with a garden. And she's been on his doorstep all night waiting for him, hoping she can get some work.” (03:13)

Moore also touches on the inclusion of historical figures like Sigmund Freud and an early depiction of Adolf Hitler as a failed art student. He notes the social turmoil of Vienna during the time, which succinctly sets the backdrop for the novel's events.

Blending History with Fiction

When asked about his approach to historical fiction, Moore articulates his philosophy:

“I use history as a setting and I approach it more in what's cool, what's interesting, what did you not know, rather than to try and, as a historian might be pointillistic in detail about it.” (07:36)

Moore emphasizes creating an engaging narrative that leverages historical context without being bogged down by meticulous factual accuracy. This approach allows readers to experience history through a captivating and imaginative lens.

Themes and Insights

Anima Rising explores themes of memory, identity, and the supernatural, all set against the rich cultural tapestry of early 20th-century Vienna. The novel juxtaposes Klimt's artistic genius with the mysterious Judith, creating a narrative that questions the boundaries between reality and the fantastical.

Moore's depiction of Klimt's relationships with women adds depth to the story, portraying him as a man deeply intertwined with his muses yet enigmatic in his personal connections.

Concluding Thoughts

The episode wraps up with Scott Simon appreciating the novel's intricate character dynamics and historical integration. Christopher Moore expresses gratitude for the discussion, highlighting his passion for blending historical elements with fiction to create immersive storytelling.

“Find NPR's Throughline wherever you get your podcasts.” (09:24)

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Key Takeaways

• Historical Fiction as a Canvas: Moore effectively uses historical settings and figures to anchor his fictional narrative, making Anima Rising both educational and entertaining.
• Complex Characters: The interplay between Gustav Klimt and Judith offers a deep exploration of artistic inspiration and personal mystery.
• Blend of Reality and Fantasy: The novel seamlessly integrates real historical events and figures with supernatural elements, creating a captivating read.

Notable Quotes

• Andrew Limbong: “The beauty of historical fiction is that when it's done right, you don't really need to know who Gustav Klimt was ahead of time.” (00:02)
• Scott Simon: “Women model for Gustav Klimt. Are they just objects to him?” (03:34)
• Christopher Moore: “I use history as a setting and I approach it more in what's cool, what's interesting, what did you not know...” (07:36)

Conclusion

NPR's Book of the Day episode on Christopher Moore's Anima Rising offers listeners a comprehensive glimpse into a novel that masterfully blends art, history, and mystery. Through insightful dialogue, Moore elucidates his creative process and the intricate layers of his storytelling, making it a must-listen for fans of historical fiction and those intrigued by the life and times of Gustav Klimt.

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Listen to the Episode

To dive deeper into the world of Anima Rising and explore Christopher Moore's creative insights, listen to the full episode of NPR's Book of the Day.

Transcript

[Andrew Limbong]

Hey, it's NPR's Book of the Day. I'm Andrew Limbong. Today's book, Anima Rising by Christopher Moore is a historical fiction novel based on Gustav Klimt. Now, I'll be honest. Before listening to today's interview, I'd never heard of Gustav Klimt. He was apparently a famous Austrian painter. He has this piece called the Kiss, which is probably his most recognizable work. But the beauty of historical fiction is that when it's done right, you don't really need to know who Gustav Klimt was ahead of time. As Moore tells npr. Scott Simon, the history is just a shape, something to hang a story on. And in this book, he definitely hangs quite the story that's ahead.

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[Scott Simon]

A man walks home one night after an evening of debauchery in 1911 Vienna, looks down from the Rosshauer Bridge and spies the figure of a woman against the concrete stairs at the water's edge. She is nude. She is still. She is also beautiful, framed by tendrils of yellow hair. Maybe it would be more conscientious to call police or a doctor, but the man who has found the woman as Gustav Klimt, the most acclaimed painter in Vienna. And in Christopher Moore's new novel, Anima Rising, the artist just takes out his sketchbook. Christopher Moore, the best selling novelist, joins us now. Thanks so much for being with us.

[Christopher Moore]

Thanks for having me.

[Scott Simon]

He does do a little bit more than that eventually. But why is his first reaction to Skecher?

[Christopher Moore]

Well, because she resembles so many of the paintings that he's done of women sort of floating ethereally in a dream very often. And it's so distinct for him that he can't resist actually trying to record what he's seeing in real life for the first time. Yeah.

[Scott Simon]

He brings the young woman back to his studio and discovers that of course she is not dead, but she is also not quite of this world, is she?

[Christopher Moore]

No. When he first finds her, she's sort of covered with these fine white scars and her skin is almost a lavender color he assumes from the cold. But in an hour or so that goes away but when she regains consciousness, she doesn't have any memory of who she is. At first, she can't speak. She's very feral. And we will find out in the course of the book that she is something quite not of this world. But at that point, Gustav Klimt is just sort of confused and wants to figure out how to deal with this young woman and the strange circumstances he found her under.

[Scott Simon]

And waiting for him outside of his studio is a woman that I think a lot of us might find to be the most compelling character in the novel. And that's Wally, Right?

[Christopher Moore]

Wally Knuts are one of Klimt's models based on a real person. Obviously, I don't know Wally's personality other than what you read and see in photographs. But Wally is waiting for him because she's been evicted and has no place to go. And Klimt's studio was a freestanding house with a garden. And she's been on his doorstep all night waiting for him, hoping she can get some work.

[Scott Simon]

Women model for Gustav Klimt. Are they just objects to him?

[Christopher Moore]

Obviously, I've fictionalized him, but what we don't know about him is how he thought about many things. He did not write about his art, he didn't talk about his art. And when questioned about it, he said, I am not interested in talking about my art or explaining it. What I am interested in is people, and specifically women. And he drew and painted almost exclusively female figures and had very close relationships with. Socially with some women. One of the things that was a shock to me when I was researching the book was that every book I read about Gustav Klimt said that it was understood that if you posed for the master, you shared his bed. And so his relationship with women was mysterious, but close.

[Scott Simon]

I guess close is one way of putting it, but yes. And he gives the young woman the name of his most highly regarded painting, doesn't he?

[Christopher Moore]

Right. The mysterious woman from the river he calls Judith. And we'll find out later why he does that. But, you know, probably one of his most compelling paintings is Judith and Holofernes. Holofernes, the. The Assyrian general and the biblical hero, Judith, who saves her village by going to seduce the general and then ends up beheading him.

[Scott Simon]

Vienna had so many famous names during that time. Klimt seeks out a lot of the very fame names in Vienna, doing groundbreaking work in Vienna at that time to try and discover what's going on in this young woman's life. Doesn't he? Freud? Young.

[Christopher Moore]

Right, Exactly. Since the young woman can't remember, since Judith can't remember who she is or where she came from, he goes to Freud, who. Who haunts the same coffee shops that he does, as they did in real life. And he asks him, can you regress her? Can you help her? And Freud says, well, I haven't used hypnosis for many years, but I'll try it.

[Scott Simon]

The story that ultimately unfolds is. I don't know if I can begin to recreate it, but maybe you at least want to give us a hint.

[Christopher Moore]

Well, I don't think it's a secret because it's. It happens in the early chapters. But Judith, it turns out, is over 100 years old. And her story begins on a ship mired in the ice in 1799. And she's in a box being pulled by a lone man on the ice with one sled dog. And she's in a box, frozen, basically, in 1799, when Captain Watson on the ship Prometheus, looks out on the ice and sees these figures and pulls them aboard to help them, and then eventually finds Judith in this box. And we have to figure out how this woman, who appears to be 19 or 20 years old, is over 100 years old and has ended up in the Danube. In 1911, there's a failed art student.

[Scott Simon]

Who makes a brief appearance, seen in a cafe, as I recall, right.

[Christopher Moore]

He had to. Somebody who didn't get into the Vienna Academy of Fine Art, a young fellow named Adolf Hitler. The social circumstances of Vienna at the time is that there were a lot of young white German men who were disenfranchised largely by mechanization, and they couldn't make a living, and they lived in poor houses for men. And the mayor of Vienna at the time, a fellow named Frank Luger, blamed the wealthy Jewish businessmen and bankers that were part of the Viennese society for everything wrong. The young Adolf Hitler picked up on that as well as many of the other young disenfranchised men. And of course, that turns out to be something quite, quite destructive as time goes on.

[Scott Simon]

As a novelist, what care do you take when you play with history, or is the point to play with history?

[Christopher Moore]

I use history as a setting and I approach it more in what's cool, what's interesting, what did you not know, rather than to try and, as a historian might be pointillistic in detail about it. So I try to really use it as just a shape to hang a story on and work within it.

[Scott Simon]

Christopher Moore's new novel, Anima Rising Klimt, Freud and Jung. Meet the Bride of Frankenstein. Boy, that's a cast. Thanks so much. Thanks so much for being with us.

[Christopher Moore]

Thanks a lot, Scott. I appreciate it.

[Tonya Moseley]

I'm Tonya Moseley, co host of Fresh air. At a time of sound bites and short attention spans, our show is all about the deep dive. We do long form interviews with people behind the best in film, books, tv, music and journalism. Here, our guests open up about their process and their lives in ways you've never heard before. Listen to the Fresh AIR podcast from NPR and whyy.

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[Scott Simon]

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[Andrew Limbong]

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[Christopher Moore]

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