11 March 13 | Chad W. Post | Comments

As in years past, we will be highlighting all 25 titles on the BTBA Fiction Longlist, one by one, building up to the announcement of the 10 finalists on April 10th. A variety of judges, booksellers, and readers will write these, all under the rubric of “Why This Book Should Win. You can find the whole series by clicking here. And if you’re interested in writing any of these, just get in touch.

Autoportrait by Edouard Levé, translated from the French by Lorin Stein and published by Dalkey Archive Press

This piece is by bookseller and BTBA judge, Stephen Sparks.

Among the stellar books included in this year’s BTBA longlist is a slim volume by Edouard Levé called Autoportrait (Dalkey Archive Press). It’s an uncategorizable book: not a memoir in any traditional sense, not a novel either. Like the best books, it resists the straightjacket of genre, existing outside the bounds of easy classification. I think it’s the most unusual and daring piece of writing in the bunch.

Autoportrait is a collection of allusively connected declarative sentences, ranging from the mundane to the subtly profound, all reflecting the narrator’s (let’s call him Levé) physical and mental life. Levé’s tone never rises above a flat monotone, which is unnerving and oddly comforting.

I can open a page at random to provide a sampling of the method of composition:

I am afraid of ending up a bum. I am afraid of having my computer and negatives stolen. I cannot tell what, in me, is innate. I do not have a head for business. I have stepped on a rake and had the handle hit me in the face. I have gone to four psychiatrists, one psychologist, one psychotherapist, and five psychoanalysts. I look for the simple things I no longer see. I do not go to confession. Legs slightly open excite me more than legs wide open. I have trouble forbidding. I am not mature. When I look at a strawberry, I think of a tongue, when I lick one, of a kiss. I can see how drops of water could be torture. A burn on my tongue has a taste. My memories, good or bad, are sad the way dead things are sad.

Page after page of this may strike one as tedious, or interesting only insofar as the reader finds Levé interesting. There are no shocking revelations, no scandalous admissions, no salacious gossip. Instead, Levé takes a more daring risk: he confronts the unexciting self head-on, scrutinizing himself so closely that the resultant text verges on irrelevancy to anyone but its author.

Yet he manages to avoid tedium—the book inevitably lulls at times, but never bores—and somehow even heightens the stakes with a fine balance of facts and feelings. Despite its proliferation of I’s, Autoportrait paradoxically manages to be as much a book about us, each reader, as Levé. It sucks us into the whirlpool of another mind and spits us back out in our own, where we confront our own flat feet, our habitual failure to fill up ice cube trays, our discomfort in bathrooms next to kitchens. And while it may ultimately be egotistical to call a book that acts as a mirror one of the most memorable I’ve read this year, I think Autoportrait is a remarkable and unforgettable exploration of all that’s singular and universal in the self.

9 February 11 | Chad W. Post | Comments [2]

As announced on their site the next issue of The Paris Review includes the first part of The Third Reich, Roberto Bolano’s “lost” novel (due out next year), which will be serialized over all four 2011 issues.

Spring is almost here1—and so is our spring issue! It’s an especially exciting one: We will be publishing Roberto Bolaño’s _The Third Reich_—our first serialized novel in forty years—with original illustrations by Leanne Shapton.

This is a first edition like none other—a collector’s item, and a chance to discover Bolaño’s famous lost novel almost a year before it appears in book form. For those of you who aren’t subscribers, we are offering a celebratory discount subscription (25% off the cover price domestically; offer good until March 15). Your subscription will also bring you new work by Lydia Davis, David Gates, and Jonathan Lethem, as well as interviews with Samuel R. Delany, Bret Easton Ellis, Yusef Komunyakaa, and much more . . .

This is a guarantee to up subscriptions to The Paris Review, and a pretty logical move considering the fact that PR publisher, Lorin Stein, was responsible for doing both 2666 and The Savage Detectives when he was at FSG.

$30 for is a decent price for 4 issues and the whole of The Third Reich, and as soon as that tax money arrives . . .

1 The “feels like” temperature in Rochester was -5 when I left for work this morning. “Almost,” my ass.

2 February 09 | E.J. Van Lanen | Comments

Lorin Stein, the American editor of Bolaño’s 2666, was on NPR last week. They broadcast a discussion he led about 2666 at Politics and Prose in Wasington, D.C.

....
Bye Bye Blondie
Bye Bye Blondie by Virginie Despentes
Reviewed by Emma Ramadan

Many of Virginie Despentes’s books revolve around the same central idea: “To be born a woman [is] the worst fate in practically every society.” But this message is nearly always packaged in easy-to-read books that fill you with the pleasure. . .

Read More >

La Superba
La Superba by Ilja Leonard Pfeijffer
Reviewed by Anna Alden

Ilja Leonard Pfeijffer’s La Superba is appropriately titled after the Italian city of Genoa, where, after escaping the pressures of fame in his own country, the semi-autobiographical narrator finds himself cataloguing the experiences of its mesmerizing inhabitants with the intention. . .

Read More >

Intervenir/Intervene
Intervenir/Intervene by Dolores Dorantes; Rodrigo Flores Sánchez
Reviewed by Vincent Francone

It took reading 44 pages of Intervenir/Intervene before I began to get a sense of what Dolores Dorantes and Rodrigo Flores Sánchez were up to. Recurring throughout these 44 pages—throughout the entire book—are shovels, shovel smacks to the face, lobelias—aha!. . .

Read More >

All Days Are Night
All Days Are Night by Peter Stamm
Reviewed by Lori Feathers

As presaged by its title, contradiction is the theme of Peter Stamm’s novel, All Days Are Night. Gillian, a well-known television personality, remains unknowable to herself. And Hubert, a frustrated artist and Gillian’s lover, creates art through the process of. . .

Read More >

The Seven Good Years
The Seven Good Years by Etgar Keret
Reviewed by Vincent Francone

It’s a rare and wonderful book that begins and ends with violence and humor. At the start of Etgar Keret’s The Seven Good Years, Keret is in a hospital waiting for the birth of his first child while nurses, in. . .

Read More >

Human Acts
Human Acts by Han Kang
Reviewed by J.C. Sutcliffe

Last year, Han Kang’s The Vegetarian was an unexpected critical hit. Now, it’s just been published in the U.S. and has already received a great deal of positive critical attention. The Vegetarian was a bold book to attempt as an. . .

Read More >

Nowhere to Be Found
Nowhere to Be Found by Bae Suah
Reviewed by Pierce Alquist

It’s been almost a year since the publication of Nowhere to Be Found by Bae Suah, but despite being included on the 2015 PEN Translation award longlist, and some pretty vocal support from key indie presses, the book has. . .

Read More >