Why This Book Should Win: "Traveler of the Century" by Andrés Neuman [BTBA 2013]
As in years past, we will be highlighting all 25 titles on the BTBA Fiction Longlist, one by one, building up to the announcement of the 10 finalists on April 10th. A variety of judges, booksellers, and readers will write these, all under the rubric of “Why This Book Should Win. You can find the whole series by clicking here. And if you’re interested in writing any of these, just get in touch._
Traveler of the Century by Andrés Neuman, translated from the Spanish by Nick Caistor and Lorenza Garcia and published by FSG
This piece is by bookseller and BTBA judge, Stephen Sparks.
Let me entice you by stating flat out that Andres Neuman’s Alfaguara Prize-winning Traveler of the Century (trans. Nick Caistor and Lorenza Garcia) is a 600-page novel in which not much happens. In some ways, it stands, a hulking mass (Andres the Giant?), in the corner opposite Houellebecq’s Map and the Territory. (Wrestling allusion thrown in for Chad’s sake.)
There is a plot, yes—the young traveler of the title stumbles into the neither here-nor-there city of Wandernburg (think of a magic mountain nestled among invisible cities), falls in love with a betrothed woman (you will too), demonstrates the affinities between translation and love (it’s sexy), fends off the stuffy morality of small town life (no surprises here), all while a mysterious rapist is on the loose (actually, stated like this, a lot does seem to happen)—but this is above all a novel of ideas, of heady conversation, of intellect. Which, fortunately, does not make it any less riveting.
Most of the action, for lack of a better word, in Traveler of the Century takes place in a salon, among a set of conversationalists who range from the brash and revolutionary to the staid, the ill-informed, and the amusingly ill-equipped. Ideas are bandied about, poetry is recited, and sexual tension swells until it can no longer be contained. Neumann’s ability to pace a novel in which conversation is the primary mover is admirable and although some of his efforts early in the novel are a little clumsy, he picks up steam and refinement as he proceeds. This is an interesting phenomenon to watch unfold: Neumann’s work is by no means perfect. Instead, it’s one of those novels in which the seams sometimes show, reminiscent of Bolano’s Savage Detectives, in which the reader gets to watch a writer figure it out as he goes along. The rewards have to be more than sufficient for a book like this to work, and they are, they are.
Fittingly, some of most remarkable moments in Traveler of the Century concern translation. In one memorable scene, the professor, a staid conservative who rests on his laurels, argues against the possibility of translation. As the bore goes on and on, Hans, the traveler of the title, reflects that
everything he said was applicable to the field of emotions—in short, someone who disbelieved in the possibilities of translation was skeptical of love. This man . . . was linguistically born to solitude.
And, a few moments later, Hans is forced to concede a point as the professor argues
that it is far easier to think in a foreign language than to feel in it . . . and from this one can deduce that any feeling expressed in another language cannot be the same feeling, not even a variant of it. At best it can be inspired by another feeling. Call this an exchange, an influence or what you will. But, I beg you, do not call it translation.
This fruitful dialectic is a prime example of Neumann’s strategy for moving his novel along. It also brings to mind several questions about the nature of translation, which is of course relevant to anyone reading this blog.
I stated earlier that this is not a perfect book, but I nevertheless believe it deserves to win the BTBA because its merits far outweigh its imperfections: Traveler of the Century is, like the wandering city in which the traveler finds he cannot escape, a place to get lost in.