Santiago Gamboa’s Necropolis, which won the La Otra Orilla Literary Award in 2009, is frustratingly good, inventive, and obsessed with story telling. The premise is simple: An author much like Santiago Gamboa himself, is invited to participate in a literary conference about biography—one that will also be attended by a strange array of guests, including a porn star and an ex-con turned evangelical pastor—that takes place in a besieged Jerusalem. During the conference, the ex-con evangelical—who tells one of the most captivating stories in the book—is found dead of an apparent suicide. Maybe.
What’s interesting/frustrating about this book is that that plot point takes place on page 165, then is interrupted, textually at least, for almost 200 pages as other participants in the conference tell their stories, each of which is intriguing in its own right, but which, for a reader of traditional, conventional books obsessed with pacing, plot points, and building climaxes, must be crazy-making. (But those sorts of readers don’t really read these sorts of books, do they?)
I read this way back in the fall and meant to write up a review back then when all the connections between the various stories in the novel—which, in terms of their themes, ideas, and narrative styles, overlap and play off one another in a beguiling fashion—were still fresh in my mind. Now, I’m just left with the memory that, in contrast to say The Canterbury Tales or The Decameron, this novel is much more circular in its construction, looping back on itself in a way informed by the best of twentieth-century literature.
A lot of people reading this blog probably feel the same way, but god damn is it a good time for Spanish-language literature. Vila-Matas. Gamboa. Neuman. Labbé. Marias. Chejfec. Prieto. Valenzuela. Dozens of writers I can’t think of.
Although this is dated June 6th, I think the final parts of this interview were posted today . . .
In support of Reading the World, Dan Wickett of Emerging Writers Network (and Dzanc Books) hosted an e-round table discussion with four translators: Howard Curtis, Katherine Silver, Paul Olchvary, and Richard Jeffrey Newman.
It’s a pretty interesting discussion, especially since the four usually have different takes on each of the issues. Makes things lively . . .
At 30, the Mexican writer Valeria Luiselli is already gathering her rosebuds. Faces in the Crowd, her poised debut novel, was published by Coffee House Press, along with her Brodsky-infused essay collection, Sidewalks. The essays stand as a theoretical map. . .
Fantomas Versus the Multinational Vampires: An Attainable Utopia (narrated by Julio Cortázar) is, not disappointingly, as wild a book as its title suggests. It is a half-novella half-graphic novel story about . . . what, exactly? A European tribunal, Latin. . .
Marie NDiaye has created a tiny, psychological masterpiece with her Self-Portrait in Green. In it she explores how our private fears and insecurities can distort what we believe to be real and can cause us to sabotage our intimate relationships.. . .
Reading a genre book—whether fantasy, science fiction, crime, thriller, etc.—which begins to seem excessively, stereotypically bad, I have to make sure to ask myself: is this parodying the flaws of the genre? Usually, this questioning takes its time coming. In. . .
The Sicilian Mafia has always been a rich subject for sensational crime fiction. The Godfather, Goodfellas, and The Sopranos worked the mob’s bloody corpses and family feuds to both entertainment and artistic value. Giuseppe di Piazza’s debut novel attempts this,. . .
Antoine Volodine’s vast project (40 plus novels) of what he calls the post-exotic remains mostly untranslated, so for many of us, understanding it remains touched with mystery, whispers from those “who know,” and guesswork. That’s not to say that, were. . .
It hasn’t quite neared the pitch of the waiting-in-line-at-midnight Harry Potter days, but in small bookstores and reading circles of New York City, an aura has attended the novelist Elena Ferrante and her works. One part curiosity (Who is she?),. . .