Similar to years past, we’re going to be featuring each of the 25 titles on the BTBA Fiction Longlist over the next month plus, but in contrast to previous editions, this year we’re going to try an experiment and frame all write-ups as “why this book should win.” Some of these entries will be absurd, some more serious, some very funny, a lot written by people who normally don’t contribute to Three Percent. Overall, the point is to have some fun and give you a bunch of reasons as to why you should read at least a few of the BTBA titles.
All posts in this series can be found here. And I’ll kick things off with a post I wrote about Javier Marias’s book.
Bad Nature, or With Elvis in Mexico by Javier Marias, translated by Esther Allen
Publisher: New Directions
Why It Should Win: Elvis! and a hysterical description of Fun in Acapulco; stars a translator and the plot hinges on translator’s interpretation; it’s Javier Marias, it’s Esther Allen, it’s New Directions
Although it’s only 57-pages long, this novella is packed with awesomeness. The basic story: some years back, a young Spaniard is hired to go to Mexico with Elvis and help him with his Spanish pronunciation. (Elvis wants to speak his ‘c’s like a true Spaniard—not like a Mexican.) While there, a confrontation takes place with locals in a bar—a confrontation that, by linguistic necessity, puts out narrator in the line of fire (literally and figuratively).
Marias is absolutely one of the best, and this book dazzles from its opening line:
No one knows what it’s like to be hunted down without having lived it, and unless the chase was active and constant, carried out with deliberation, determination, dedication and never a break, with perseverance and fanaticism, as if the pursuers had nothing else to do in life but look for you, keep after you, follow your trail, locate you, catch up with you and then, at best, wait for the moment to settle the score.
It might be due to the brevity of the text, but there’s a way in which every scene, every description, every event seems absolutely locked together, with each paragraph having to follow from the one previous. That’s not usually how I think of Marias, with his long-winding sentences (see above), constant contemplation, and the way his prose mulls. But Bad Nature really is the very definition of tight.
The fact that this book is about a translator—and the process of translation—might give it an edge with the panelists. This isn’t the first time Marias has written about a translator or used an act of translation as a plot point (see A Heart So White). Regardless, the moment in which the translator chooses his words in conveying Elvis’s insult to the ruffians is thick with tension, and such a perfect example of how translation is interpretation . . .
All that’s great, Marias is great, Esther’s translation is great, but the real reason this should win? These two passages. First, a description of the film:
I don’t really know what the plot of the film was supposed to be, and not because it was too complicated; on the contrary, it’s hard to follow a plot when there is no story line and no style to substitute for one or distract you; even later, after seeing the film—before the premiere there was a private screening—I can’t tell you what its excuse for a plot was. All I know is that Elvis Presley, the tortured former trapeze artist, as I said—but he’s only tortured sometimes, he also spends a lot of time going swimming, perfectly at ease, and uninhibitedly romancing women—wanders around Acapulco, I don’t remember why, let’s say he’s trying to shake off his dark past or he’s on the run from the FBI, perhaps some thought the fratricide was deliberate (I’m not at all clear on that and I could be mixing up my movies, thirty-three years have gone by). As is logical and necessary, Elvis sings and dances in various places: a cantina, a hotel, a terrace facing the daunting cliff. From time to time he stares, with envy and some kind of complex, at the swimmers—or rather, divers—who plunge into the pool with tremendous smugness from a diving board of only average height.
And from this description of the ridiculousness of Elvis:
Since he was a hard and serious and even enthusiastic worker, he couldn’t see how his roles looked from the outside or make fun of them. I imagine it was in the same disciplined and pliant frame of mind that he allowed himself to grow drooping sideburns in the seventies and agreed to appear on stage tricked out like a circus side show, wearing suits bedecked with copious sequins and fringes, bell bottoms slit up the side, belts as wide as a novice whore’s, high-heeled goblin boots, and a short cape—a cape—that made him look more like Super Rat than whatever he was probably trying for, Superman, I would imagine.
Super Rat FTW!
After reading a bunch of glowing reviews for the third volume of Javier Marias’s Your Face Tomorrow trilogy (including this one from the Independent in which the trilogy is referred to as “one of the most thoughtful and inspiring fictional works of the last decade”) I tentatively decided that I would spend the last few months of 2010 reading all 1,500 pages, so that I could fully experience the hype.
I love Marias’s other books—especially the twinned All Souls and Dark Back of Time, the latter of which actually references Normal, Illinois of all places—and back years ago, like literally years ago, when Volume I of the YFT trilogy came out, I read about half of it on a plane to somewhere and remember greatly enjoying it. Actually, all I really remember is that the sentences were labyrinthine in that Marias way, and that the book was all about reading, about learning how to read, how to interpret. At the time it seemed like vintage Marias: pensive, thoughtful, detailed and methodical to a point of near-overkill. But in contrast to some of his other books, which are often about secrets, human relations, and women’s legs, the mental meanderings of the YTF trilogy are strung onto a spy-thriller plot. It’s like Proust meets Ian Fleming. (Or some other reviewer platitude.)
Anyway, as compelling and mentally exhilarating the idea of reading one of the great twenty-first-century works (so far) might be, I still need a little motivation . . . It’s not like I’m not already inundated with fascinating samples, readings for the Best Translated Book Award 2011, or Open Letter books that need to be proofed. But still . . .
Which is why I’m thrilled that Scott Esposito put together a Your Face Tomorrow Reading Group. Kicking off this week (I believe—more info TK), this should be pretty interesting. Scott does shit right. (Check recent issues of The Quarterly Conversation if you doubt.) And I know he already has a number of great features lined up.
Hopefully we’ll be able to do some cross-posting, etc., etc., between Conversational Reading and Three Percent, and regardless, I’ll definitely keep everyone updated as things progress.
Now, if you’re not up for 1,500 pages of European intellectual spy games (of however you want to categorize this), you might be more interested in Bad Nature, or With Elvis in Mexico, a very, very short Marias book that just came our from New Directions. I know little about this novel (except that Esther Allen translated it, so it must be awesome), although I do know that ND absolutely nailed the jacket copy: “In this classic Marias story, Elvis and his entourage abandon their translator in a seedy cantina full of enraged criminals.” Sold!
The opening of Jón Gnarr’s novel/memoir The Indian is a playful bit of extravagant ego, telling the traditional story of creation, where the “Let there be light!” moment is also the moment of his birth on January 2nd, 1967. Then. . .
Mahasweta Devi is not only one of the most prolific Bengali authors, but she’s also an important activist. In fact, for Devi, the two seem to go together. As you can probably tell from the titles, she writes about women. . .
The prolific Spanish author Benito Pérez Galdós wrote his short novel, Tristana, during the closing years of the nineteenth century, a time when very few options were available to women of limited financial means who did not want a husband.. . .
Pedro Zarraluki’s The History of Silence (trans. Nick Caistor and Lorenza García) begins with the narrator and his wife, Irene, setting out to write a book about silence, itself called The History of Silence: “This is the story of how. . .
There are plenty of reasons you can fail to find the rhythm of a book. Sometimes it’s a matter of discarding initial assumptions or impressions, sometimes of resetting oneself. Zigmunds Skujiņš’s Flesh-Coloured Dominoes was a defining experience in the necessity. . .
In a culture that privileges prose, reviewing poetry is fairly pointless. And I’ve long since stopped caring about what the world reads and dropped the crusade to get Americans to read more poems. Part of the fault, as I’ve suggested. . .
I would like to pose the argument that it is rare for one to ever come across a truly passive protagonist in a novel. The protagonist (perhaps) of Three Light-Years, Claudio Viberti, is just that—a shy internist who lives in. . .