Twenty years after their collapse, the Twin Towers mysteriously reappear in the Badlands. Thousands gather to witness the sight, describing them as an American Stonehenge. What make this even more strange – and haunting too – is that music comes out of the buildings that no one can quite place, and is experienced slightly differently by everyone present.
‘Which ghosts are being summoned is unclear: the spirits of the Towers? Or the phantoms of the Badlands? Or do, within the buildings, the spirits of two decades previous meet the phantoms of more than a century past, and do they embrace in spectral communion, swap tales of their lives, commiserate and comfort each other over their deaths, display for each other photos and engravings of wives and husbands and children, some wrapped in animal skins and blankets and others donning Mets caps and The Blueprint sweatshirts?’
This event is the ‘landmark’ of the novel, and the blurb. But in itself, it isn’t really what the story is about. As I read it, the story is about the road not taken. Every person, event, and creation has a twin: a shadow which is essentially made of the same principle but has different situational factors acting upon it. Shadowbahn bravely explores this idea on multiple layers.