OK, so I don’t really heart Scott Esposito—as well all know, he’s shit at riding a mechanical bull and that is a NECESSARY in my book—but he has been doing a lot of great work lately, and has prompted me to write an appreciation of his recent reviews and round-up of some year end lists that I’ve been digging.
First up though is Scott. The new Quarterly Conversation is out and contains a review of Can Xue’s Vertical Motion, (translated from the Chinese by Karen Gernant and Chen Zeping) which helps elevate this already brilliant web publication. (More on the new issue next week.)
Just before Thanksgiving, Scott’s review of Pelevin’s The Hall of the Singing Caryatids (translated from the Russian by Andrew Bromfield) was published by The National. As I mentioned yesterday (and in the forthcoming podcast), I just read this and really loved it for its weird and unsettling nature. Here’s Scott’s summary:
A very worthy new addition to this collection is Pelevin’s recently translated novella The Hall of Singing Caryatids, which comes to us by way of New Directions’ Pearls series of short works. It is a brilliant fable of a Russia oversaturated with “semiotic signs”, a skewing of a country where rhetoric – and not actual substance – is most often the locus of communication. The unlucky recipients of this verbiage are call girls employed by a palace of gratification built to capture some of the trickle-down wealth from Russia’s affluent classes. The book gets off to a fitting start as the women are sanctimoniously informed by their employers that their task is one of national importance, the pleasuring of the rich and powerful being vital to beating the West at its own game and keeping the precious oligarchs safe from imperialist influence.
The plot follows Lena, whose job is to join 11 other women in two-day shifts standing perfectly still as living statues that wait to take their next customer into a side room. Such a performance would be taxing to say the least, but Pelevin gives the women a secret weapon: before each shift they’re injected with a chemical modelled on that which allows praying mantises to stand perfectly still while waiting for unwary prey. The chemical offers a bonus: as a side effect, it sends Lena and her counterparts into a Zen-like nirvana where they commune with a vaguely Deepak Chopra-like spiritual mantis. As Lena explores this mantis-world more deeply, Pelevin puts her on a collision course with Mikhail Botvinik, a jet-setting oligarch who wields a force known as “Crypto-Speak” – powerful word-weapons that are cleverly disguised as “everyday speech”.
This is a book that must be read to understood.
But this isn’t the only great book of 2011 that Scott’s recently reviewed—not at all. Next up was his incredibly measured and comprehensive piece at The Critical Flame on Sergio Chejfec’s My Two Worlds (translated from the Spanish by Margaret B. Carson):
My Two Worlds is a dance, a seduction that draws us right up to the palpable center and then fades away to the margin, drawing one back toward that center before fading into another marginal space – back and forth, round and round. It is that same haze of thought one feels when hovering around an idea that remains unelucidatable. Yet the book is merely Chejfec’s thoughts over the course of a walk. It is two hours of serpentine meditation, that same maddening dart and weave between significance and insignificance, transcendence and babble.
The best description for the book – one that might also be suitable for Sebald – is to call My Two Worlds a fragmentation of gazes. As with Sebald, mundane objects play a central role in provoking the narrator’s curiosity: the action of the book gets underway when, looking at his map and preparing to make his trip to the park, the narrator becomes fixated by “the great green blotch, as I called it.” On the map he sees “a small black 9 printed at the heart of the park . . . it strengthened my resolve to visit the park.” These are just the type of everyday, slightly obscure details that might become the object of anyone’s irrational fixation, giving the book an odd realism.
We will be posting our video from the recent Chejfec & Carson RTWCS in the near future . . . But going back to Scott’s run of reviewing great books, his piece on Juan Jose Saer’s Scars (translated from the Spanish by Steve Dolph) just ran in Bookforum:
What Saer presents marvelously is the experience of reality, and the characters’ attempts to write their own narratives within its excess. Scars is stuffed with unnecessarily minute details, and Saer smothers his readers—and narrators—beneath more information than can reasonably be interpreted. In doing this, he presents reality as an abundance so great that we must necessarily ignore much of it in order to find meaning.
Fortunately, Saer never loses sight of the book’s larger rhythms amid these details, making Scars a brisk, engrossing novel. Scars is best read quickly, so that what remains after reading is not any single moment but the flow of the narrative. Saer, who doesn’t hesitate to drop in a passage that instructs readers how to read his books, indicates as much when he has Ernesto consider Wilde’s advice that “one should absorb the colour of life, but one should never remember its details.” In Scars we see the colors of blurred motion, not the individual scenes that make up the action.
I’ve said it before (and am known to repeat myself), but Scars reestablished my faith in fiction. I can’t recommend this book highly enough. READ IT.
Not to shift gears to dramatically, but a lot of year-end lists are coming out (it being December and all), and a few of our titles have been getting some love.
Although it’s not an official “year end” list, I’m probably most psyched that Scars was included on the December list of Movers & Shakers at GoodReads. It is one of only six books featured. TRUST ME, IT IS THAT GOOD.
Over at Emmett Stinson’s blog, he has a list of the “Best Lit in Translation from 2011.” It’s a solid list featuring In Red, Perec’s Raise book, the new translation of Lispector’s The Hour of the Star (no, I won’t shut up about how great this is), Hrabal’s Dancing Lessons, and Chejfec’s My Two Worlds. All of these books are worth reading, and I like the way Emmett describes all of these.
There are more lists worth discussing (the cool one at Love German Books) and ones better ignored (the so-predictable-that-it’s-almost-not-predictable NY Times list of 100 Notable Books), but for now, this is a decent start . . .
For the past 140 years, Anna Karenina has been loved by millions of readers all over the world. It’s easy to see why: the novel’s two main plots revolve around characters who are just trying to find happiness through love.. . .
Linn Ullmann’s The Cold Song, her fifth novel, is built much like the house about which its story orbits: Mailund, a stately white mansion set in the Norwegian countryside a few hours drive from Oslo. The house, nestled into the. . .
Karel Schoeman’s Afrikaans novel, This Life, translated by Else Silke, falls into a genre maybe only noticed by the type of reader who tends toward Wittgenstein-type family resemblances. The essential resemblance is an elderly narrator, usually alone—or with one other. . .
In Joris-Karl Hyusmans’s most popular novel, À rebours (Against Nature or Against the Grain, depending on the which translated edition you’re reading), there is a famous scene where the protagonist, the decadent Jean des Esseintes, starts setting gemstones on the. . .
There are books that can only wisely be recommended to specific types of readers, where it is easy to know who the respective book won’t appeal to, and Kristiina Ehin’s Walker on Water is one these. What makes this neither. . .
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. . .