The Last Days of Night, by Graham Moore
If I’d had to guess, I would have said that this author would be British, with a name like his, however he was in fact born in Chicago, USA, but I’ll forgive him for that. The book’s name, which I actually think is quite clever, refers to the transition period of the 1880s in America, primarily in the metropolitan north east, but then gradually spreading out to encompass the whole country, when electric lighting began to take over from the previous standard of gas; although this wasn’t ubiquitous: oil/kerosene lamps were also cosynchronously very common. There have, in fact, been a few books on this subject, plus a 2017 film, The Current War, which seems to have had a somewhat underwhelming reception, disappointingly [for me, anyway, given the subject matter; although it was caught up in the repercussions of the Weinstein scandal, which delayed its release, facilitating, presumably fortuitously, a ‘director’s cut’ final edit]; the screenplay of which was written by Michael Mitnick, according to the Wikipedia entry for the film, but no mention is made of, or reference to other sources for the story; although, to be fair, it can almost be considered as folk history in America; especially, given Thomas Edison’s persistent reputation.
As with other fictional narratives based closely on readily available historical fact [An Officer and a Spy, by Robert Harris, is another example], authors have to be careful not to deviate too far from established truths, unless they are prepared to categorise their output as an ‘alternative’ history; confining themselves to embellishing known facts with scenarios which are appropriate to their narratives is quite common. This is what Moore has done here, as he freely admits, in his Note from the Author, at the end of the book: “This is a Gordian knot of verifiable truth, educated supposition, dramatic rendering, and total guesswork.” Overall, I would say he has done very well, despite the timeline having been significantly tinkered with to make his narrative plausible. It is essentially the story of the struggle for dominance in the electrical supply market, between Edison & DC [direct current] on one side, and George Westinghouse & AC [alternating current] on the other; into this conflict is also thrown the saturnine character of Nikola Tesla, who has latterly become something of a folk hero globally, but in the USA specifically, notwithstanding what I rather feel is the traducing of his name by a current [no pun intended] billionaire, with his upmarket and very expensive [and therefore not affordable by the masses] products, and the irony of this compared to Tesla’s sad demise.
The story actually begins with litigation between the two main characters, with Edison as the antagonist, suing the protagonist, Westinghouse, for infringement of his patents for the electric light bulb, claiming [speciously, but that is the core of the suit] that he had ‘invented’ it. The latter takes the ostensibly risky step of engaging a relative newcomer to the legal field, Paul Cravath, who knows that this is something of a poisoned chalice, but he nevertheless relishes the challenge as an opportunity to make a name for himself: but only if he wins, of course. Along the way, he meets a seemingly unattainable woman, Agnes Huntington, to whom he is inexorably drawn, when she also engages him to fight a suit for her; at first, he makes a conscious decision not to let himself become dependent upon her, but as the narrative develops, despite evidently being somewhat submissive to her domineering mother, it becomes apparent that there is more to her than meets the eye. When the truth is revealed, it seems inevitable that they will become romantically attached, until Tesla inadvertently causes a schism.
The story is nicely paced, and the characters, although admittedly somewhat enhanced, are plausible, so I found this a very enjoyable read, which retained my attention throughout, and the conclusion was reasonably satisfying. The paperback version I read was published by Scribner, an imprint of Simon & Schuster UK Ltd., in 2017, ISBN 978-1-4711-5668-7.