Andrew Crumey

Crumey was born in Glasgow, Scotland, and grew up in Kirkintilloch. He graduated with First Class Honours from the University of St Andrews and holds a PhD in theoretical physics from Imperial College, London. His thesis was on integrable systems and Kac-Moody algebras, supervised by David Olive.[3]

Crumey's first novel, Music, in a Foreign Language, won the Saltire Society First Book Award in 1994.[4] Its theme of alternate history was inspired by the many-worlds intepretation of quantum mechanics.[5]

His second novel Pfitz was a New York Times "Notable Book of the Year" in 1997, described as "cerebral but warm and likeable".[6] The sequel, D'Alembert's Principle took its title from a principle of physics.

Crumey was a regular book reviewer for Scotland on Sunday from 1996 and became the newspaper's literary editor in 2000. He won an Arts Council of England Writers' Award, worth £7,000.[7]

In 2000 Crumey's fourth novel Mr Mee was longlisted for the Man Booker Prize and won the Scottish Arts Council Book Award.[8] He followed it with Mobius Dick, described by Joseph O'Connor as "perhaps the only novel about quantum mechanics you could imagine reading while lying on a beach."[9]

In 2003 Crumey was selected for Granta's "Best of Young British Novelists", but had been incorrectly submitted by publisher Picador, being over 40 at the time.[10]

In 2006, Crumey became the fifth recipient of the Northern Rock Foundation Writer's Award for Sputnik Caledonia,[11] which was also shortlisted for the James Tait Black Memorial Prize[12] and Scottish Book of the Year.[13]

In 2006 he became lecturer in creative writing at Newcastle University. In 2011 he was a visiting fellow at Durham Institute of Advanced Study,[14] then became lecturer in creative writing at Northumbria University.[5]

He has an interest in astronomy and in 2014 he published on the subject of astronomic visibility and Ricco's law.[15]

His short story Singularity was broadcast on Radio 4 in 2016[16] and later published in The Great Chain of Unbeing.

In 2017 he was a contestant in the St Andrews team on BBC Two's Christmas University Challenge.[17]

In 2018 The Great Chain of Unbeing was shortlisted for the Saltire Fiction Award.[18] Adam Roberts wrote in Literary Review: 'Andrew Crumey’s new book is a quasi-novel built out of connected short stories. It’s something for which we English have no specific term, but for which German critics have probably coined an impressively resonant piece of nomenclature (Kurzgeschichtenverkettung, maybe?). It’s as good an example of the form as I know.'

The Cambridge Companion to British Fiction Since 1945, commenting on unorthodox approaches to genre fiction by writers including Crumey, Frank Kuppner and Ken Macleod, says "Andrew Crumey is one of the most innovative and engaging Scottish writers to emerge out of this context in the last twenty years. His speculative fiction has a strong European and global dimension, drawing on the influence of Borges, Calvino and Milorad Pavic in its intricate, nested narratives, non-linearity, and ludic encyclopaedism - evident, for example, in Pfitz (1995) and D'Alembert's Principle (1996)."[19]

Cultural theorist Sonia Front writes, "The notion of parallel universes seems to be Andrew Crumey's favourite physical theory... His writings can be seen as a multiverse themselves, with the characters reappearing to live an alternative world-line in another novel... Some of Crumey's novels embrace metalepsis, that is, breaching diegetic levels."[20]

Bent Sorensen brackets Crumey with another physicist-turned-novelist, Alan Lightman, and has discussed their move from science to literature using Pierre Bourdieu's concepts of "field", "position-taking" and "gatekeeping". Sorensen says that Crumey is "opposed to the postmodern epistemology when asked to define his world-view in philosophical terms" yet "his fictional practice, however, can still fairly be characterized as postmodern... Crumey's inconsistency between philosophy and practice perhaps illustrates the perils of being trapped at an early stage in one's career between two fields with contradictory epistemologies."[21]

Mark C. Taylor related the multiple "authors" in Pfitz to complexity theory. "Pfitz is not just about emergent complexity but is a brilliant enactment of it. One of the strategies Crumey and his coauthors use to generate complexity is to create multiple self-reflexive loops by folding authors and readers into each other until the line separating them becomes obscure."[22]

Stephen J. Burn sees Crumey's Pfitz, Tom McCarthy's Men in Space and David Mitchell's Number9Dream as examples of a subgenre he terms "multiple drafts" novels, with Pfitz being "the earliest—and arguably the most representative—example of this form." Burn's term "multiple drafts" is borrowed from Daniel Dennett's model of consciousness. Burn writes that Pfitz shows "evident familiarity with Daniel Dennett's work" and says it "might be considered to provide the hidden internal blueprint for different levels of the novel's action."[23]

Toon Staes sees Pfitz as a "systems novel", a term coined by Tom LeClair who applied it to writers including Don DeLillo, Thomas Pynchon, John Barth and Ursula Le Guin. In Staes' usage, "systems novels feature multiple nonlinear and fragmented narrative strands that gradually fix the reader's attention on a network of relationships," with Pfitz being "an interesting test case."[24]

Timothy C. Baker comments on the use of Gothic tropes such as found manuscripts in the work of Crumey and other Scottish writers. "Use of such tropes can be limiting... In other texts, however, including Gray's Poor Things, Crumey's Mr Mee, and A. L. Kennedy's So I Am Glad, each of which embeds Gothic elements in another genre or mode, the trope exceeds these limitations and allows for a greater reflection on the relationship between language and experience."[25] Baker sees Crumey's novels as "monadological", citing Deleuze's reading of Leibniz, and observing that "The relation between [Crumey's] novels is unusual: five of his seven novels explore, in various ways, the legacies of Enlightenment thought, often drawing upon the same ideas and figures. These novels, crucially, do not amount to a sequence, nor is the relation between events in them ever straightforwardly causal. Instead, each novel covers similar ground in a series of overlapping folds, while remaining narratively distinct."[26]

Lisa Harrison compares Crumey's Sputnik Caledonia with Matthew Fitt's But'n'Ben A-Go-Go. "Their fictive worlds are Scotland, though not as we know it - they each present a Scotland stripped of stereotyping, thus reformed and redefined through fiction."[27]

Commenting on the story "The Last Midgie on Earth" in The Great Chain of Unbeing, Milena Kalicanin writes, "Scotland becomes Crumey's synonym for a postmodern utopia that he symbolically defines as a state of mind, a land of spiritual freedom in which everybody says an everlasting 'yes' to life, and a profound 'no' to the postmodern capitalist system of values."[28]

• Music, in a Foreign Language (1994)
• Pfitz (1995)
• D’Alembert’s Principle (1996)
• Mr Mee (2000)
• Mobius Dick (2004)
• Sputnik Caledonia (2008)
• The Secret Knowledge (2013)
• The Great Chain of Unbeing (2018)
• Beethoven's Assassins (2023)

• List of comic and cartoon characters named after people
• List of fiction employing parallel universes

• Andrew Crumey's webpage (author site)
• Andrew Crumey's webpage (Northumbria University)
• Works by Andrew Crumey at the Internet Archive (free loan)
• Andrew Crumey at the Internet Speculative Fiction Database
• Goodreads.com author profile
• "The Northern Rock Foundation Writer's Award 2006". The Northern Rock Foundation. 30 March 2006. Archived from the original on 22 November 2006. Retrieved 24 March 2007.