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.
Maidenhair by Mikhail Shishkin, translated from the Russian by Marian Schwartz and published by Open Letter Books
BROMANCE WILL IS IN THE HOUSE.
Mikhail Shishkin’s debut English-language novel Maidenhair deserves to win the 2013 Best Translated Book Award because it is not only the best translated book in the best translation to have come out in English—it is the best book that came out in 2012, period. Accomplished translator Marian Schwartz has wrought a miraculous, beautiful, lyrical rendition of Shishkin’s unique poetic language that draws on the grandest narrative traditions of the nineteenth century classics and combines them with the living, breathing Russian language as it exists today.
Language itself, and the importance of the Word in life, love, and history, is at the heart of Maidenhair. The plot, or what semblance there is of a plot, centers on an unnamed interpreter who works for the Swiss immigration office, translating the horrific stories of would-be Russian immigrants describing why they deserve asylum in Switzerland to the interpreter’s boss, a figure described as Peter, guarding the gates of Heaven, determining who is able to enter Paradise within the Swiss borders. The interpreter is the axis on which the narrative magic of Maidenhair spins: he is a narrator who retells the stories of the asylum-seekers; a conduit for the historical stories he is reading about the Persian Wars; a doting father writing letters to his son, all addressed to “My dear Nebuchadnezzasaurus!”; the son lives with his former wife, who in one thread travels to Rome with the narrator, only to have their marriage fall apart; he is a would-be biographer of a talented young singer in late tsarist, early Soviet period, Isabella Yurievna.
The stories all weave together in head-spinning fashion, the interpreter is the only connection between the separate narratives within the novel, though it takes a while for the reader to piece together how these stories are connected, as the characters’ philosophical monologues and asides demonstrate the grand themes Shishkin is working with. And that reminds me of Shishkin’s own words: that Maidenhair is not a novel to be understood, but rather to be felt; it is a novel that hinges less on plot than on the emotional resonance that connects each separate story. Schwartz handles the narrative shifts within Maidenhair with the grace of a prima ballerina, confident and even-keeled, even as the narration jumps from an early twentieth century language of the Petersburg intelligentsia to the coarse, brutal language of refugees who may or may not be fleeing violence and persecution in their home villages.
And to personally editorialize, to add an element of competition to why Maidenhair in particular deserves to win this year’s BTBA rather than any of the other extremely well-qualified works of translation: I can say in all honesty that Maidenhair is the best Russian novel to come out in English since Mikhail Bulgakov’s Master and Margarita exploded into the world’s consciousness in the mid-1960s.
Like many others before me, I have suffered an unvanquishable love of Rusisan literature ever since I took a Nineteenth Century Russian Literature course my freshman year at university. And I love it all now, all Russian literature: the grand Russian novels of ideas, the linguistic and stylistic revolutionaries of avant-garde poetry, the mystical philosopher-authors exploring the outer reaches of human existence, the brilliant and brave souls who dared to describe the absurdity of totalitarianism, be it tsarist, Soviet, capitalist . . . but I had been feeling at times like I’d reached the end of the Russian rope, that I’d made my way through all the great Russian works, and all I had left to content myself with were forgotten little gems that slipped between the cracks of the great Masters; but all the while I kept hoping beyond hope that somehow, someway, a contemporary Russian author would emerge to re-engage me with the history of Russian literature, to give hope to the written word in ways I thought I’d never feel again, not since I was introduced to that towering genius of twentieth century Russian letters, Bulgakov (and how wonderful and how tragic it is to be introduced to true works of creative genius like Master and Margarita, wonderful to know greatness on such a level, tragic in the knowledge that such works of genius stand alone, once you meet them, you have drastically winnowed down the number of life-changing novels remaining to be discovered, and nothing can replace the joy of discovery, of opening a novel for the first time not knowing by the end that it would completely change your life, that you would become a different, more fulfilled human being by the time you closed that novel. And yes, you can re-read, revisit, re-engage with these classics, these works of creative genius, and you can develop a deeper relationship between the text and the characters and the author behind it all, but you cannot replace the joy that comes from that first reading, the joy of discovery).
Maidenhair is the novel I have been waiting for; a powerful, moving novel that combines everything I love about literature in general, the beauty of language, the power of ideas, the love of characters, the genius of the Author as Master. I believe in the ability of the written word to change and transform physical reality outside of the textual vessel. I know I am not alone in these loves, these beliefs, and I know now that Russian literature is alive and well in so many ways, for there is an author who can stand shoulder-to-shoulder with the greatest of Russian writers in history, who can craft the most beautifully-woven novels of ideas, because I have read Mikhail Shishkin’s Maidenhair, and I was able to feel it all again, the pure, unadulterated joy of discovery, of a truly great work of literary fiction, as if for the first time.
It is no exaggeration to describe Mikhail Shiskin as the greatest living Russian writer. Shishkin is already renowned in Russia as the first author to win all three of the big literary awards there: the Russian Booker, the Big Book, and the National Bestseller. I read and fell in love with Maidenhair before Shishkin withdrew from the official Russian delegation to the 2013 Book Expo America, in effect making him a dissident author. And if there is one thing history has shown, it is that the West loves dissident Russian literature. Think of the Russians who have won the Nobel Prize: Ivan Bunin (the most underrated of the great Russian authors, won the Nobel in 1933), Boris Pasternak (1958), Alexander Solzhenitsyn (1970), Joseph Brodsky (1987)—all officially dissidents, yet all deserving for the quality of their writing, the eternal nature of their ideas. Even before his recent political stance, Mikhail Shishkin was a worthy candidate for future Nobel laureate, and the appearance of Maidenhair in English translation started generating Nobel buzz immediately. Some say it takes a few works in English to catapult an author to global status worthy of Nobel recognition: Maidenhair is Shishkin’s first novel to appear in English, published by Open Letter Books, while his second English novel, The Light and the Dark, will be published by Quercus in November 2013. Shishkin’s Nobel future is unknown, his present candidacy for BTBA is more clear. He deserves to win, Maidenhair is a book of uncommon, exceptional genius, and its win would reserve its rightful place as the best translated book of 2012.
If this piece doesn’t convince you that Maidenhair should win the 2013 Best Translated Book Award, or if you can’t be bothered to read a 900-word love letter to Maidenhair, take the advice of the brilliant booksellers at the Elliott Bay Book Company in Seattle, they say what I am trying to say in far fewer words, with their own style of poetic genius:
Imagine the most baroque excesses of Goethe, Shakespeare, and Poe, blended together and poured into a single book: That is The Nightwatches of Bonaventura. Ophelia and Hamlet fall in love in a madhouse, suicidal young men deliver mournful and heartfelt. . .
In 1899, Maurice Ravel wrote “Pavane pour une infante défunte” (“Pavane for a Dead Princess”) for solo piano (a decade later, he published an orchestral version). The piece wasn’t written for a particular person; Ravel simply wanted to compose a. . .
Fiston Mwanza Mujila is an award-winning author, born in the Democratic Republic of Congo, who now, at 33, lives in Austria. From what I could find, much of his work is influenced by the Congo’s battle for independence and its. . .
Twenty-One Days of a Neurasthenic is not a novel in the traditional sense. Rather, it is a collection of vignettes recorded by journalist Georges Vasseur in his diary during a month spent in the Pyrenées Mountains to treat his nervous. . .
Founded in 1960 by such creative pioneers as George Perec, Raymond Queneau and Italo Calvino, the Oulipo, shorthand for Ouvroir de littérature potentielle, came about in when a group of writers and mathematicians sought constraints to find new structures and. . .
There’s little to say about a series of prose poems that willfully refuse to identify pronoun antecedents. Or perhaps there are a million things. The poems in Morse, My Deaf Friend— the chapbook by Miloš Djurdjević published by Ugly Duckling. . .
The Crimson Thread of Abandon is the first collection of short fiction available in English by the prolific Japanese writer and all-around avant-garde trickster Terayama Shūji, who died in 1983 at the age of 47. This collection would be important. . .
Last year, NYRB Classics introduced English-language readers to Catalan writer Josep Pla with Peter Bush’s translation of The Gray Notebook. In that book, Pla wrote about life in Spain during an influenza outbreak soon after World War I, when. . .
“Your bile is stagnant, you see sorrow in everything, you are drenched in melancholy,” my friend the doctor said.
bq. “Isn’t melancholy something from previous centuries? Isn’t some vaccine against it yet, hasn’t medicine taken care of it yet?” I. . .
What to make of Vano and Niko, the English translation of Erlom Akhvlediani’s work of the same name, as well as the two other short books that comprise a sort of trilogy? Quick searches will inform the curious reader that. . .