I’m a big fan of Vila-Matas—as can probably be deduced from the reviews of his books that we just posted—and am thrilled to have the chance to see him read with Paul Auster next Thursday at the Cervantes Institute in New York.
The event is free and open to the public, so anyone interested in great, fun literature should definitely check this out.
The Cervantes Institute is at 211-215 East 49th St., and the event starts at 7pm.
And I can’t recommend Vila-Matas enough. He’s one of those rare authors who is incredibly literary and erudite, without being the least bit boring. His books are incredibly funny and informative, and the narrators are very memorable, relating their anger and isolation is a way that’s warm, funny, and very compelling.
The closest comparison I can think of in terms of style is Marcel Benabou, whose Why I Have Not Written Any of My Books is another of the most inventive novels of the past twenty years.
The last five days of the eleventh-century Icelandic politician, writer of sagas, and famous murder victim Snorri Sturleleson (the Norwegian spelling, Snorre, is preserved in the book) make up Thorvald Steen’s most recently translated historical fiction, The Little Horse. Murdered. . .
We all know Paris, or at least we think we know it. The Eiffel Tower. The Latin Quarter. The Champs-Élysées. The touristy stuff. In Dominique Fabre’s novel, Guys Like Me, we’re shown a different side of Paris: a gray, decaying. . .
One hundred pages into Birth of a Bridge, the prize-winning novel from French writer Maylis de Kerangal, the narrator describes how starting in November, birds come to nest in the wetlands of the fictional city of Coca, California, for three. . .
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. . .