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.
Click here for all past and future posts.
Hygiene and the Assassin by Amelie Nothomb, translated by Alison Anderson
Publisher: Europa Editions
Why This Book Should Win: “I didn’t use to believe in the efficacy of verbal torture. And now as of these last few minutes I’ve started to believe in it.”
This post was written by aspiring German translator and recent University of Rochester graduate, Jen Marquart.
After receiving news that he has a rare form of cancer, Nobel Prize winning author Prétextat Tach decides to grant interviews to five journalists. The first four approach Tach from a straightforward manner—believing to have out smarted former colleagues—to be torn apart, humiliated, sickened and broken. Only with Nina, the fifth journalist, does the obese, grotesque, misogynist author meet his match in a brutal game of verbal wit. By the end of the interview both Nina and Tach have plunged into an inescapable abyss.
With each interview reading as a separate story around the central theme of literary culture (more specifically what it means to be a “good writer/reader” and the politics surrounding the Nobel Prize for Literature) Nothomb, in her powerful first novel, commands a dialogue digging at these issues:
“[…] You have sold millions of copies, even in China, and that doesn’t make you think?”
“Weapons factories sell thousands of missiles the world over every day, and that doesn’t make them think, either.”
“There’s no comparison.”
“You don’t think so? And yet there is a striking parallel. There’s an accumulation, for example: we talk about an arms race, we should talk about a ‘literature race.’ It’s a cogent argument like any other: every nation brandishes its writer or writers as if they were cannons. Sooner or later I too will be brandished, and they’ll prepare my Nobel Prize for battle.”
“If that’s the way you look at it, I have to agree with you. But thank God, literature is less harmful.”
“Not mine. My literature is even more harmful then war.”
“Don’t you think you are flattering yourself there?”
“Well I’m obliged to, because I am the only reader who is capable of understanding me. Yes, my books are more harmful than war, because they make you want to die, whereas war, in fact, makes you want to live. After reading me, people should feel like committing suicide.”
“And how do you explain the fact that they don’t?”
“Well, I can explain it very easily: it is because nobody reads me. Basically, that may also be the reason for my extraordinary success: if I am so famous, my good man, it is because nobody reads me.”
These funny and critical exchanges are taken to a higher level with Nina, who plays Tach’s game equally well, if not better. She plays with his words and calls bullshit on his “Freudian Slips,” all in an attempt to tease out the ‘real’ Prétextat Tach.
With biting witticism and the criticism of literature swirling around the disturbing life of one Nobel Prize author, Hygiene and the Assassin is one of the funniest and most engaging books I have read.
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“A novel. Novella, I guess.”
“Yeah, it looks short. What is it, a hundred pages?”
“Sorta. It’s a duel language book, so really, only about… 50 pages total.”
“And this—what. . .
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