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._
Traveler of the Century by Andrés Neuman, translated from the Spanish by Nick Caistor and Lorenza Garcia and published by FSG
This piece is by bookseller and BTBA judge, Stephen Sparks.
Let me entice you by stating flat out that Andres Neuman’s Alfaguara Prize-winning Traveler of the Century (trans. Nick Caistor and Lorenza Garcia) is a 600-page novel in which not much happens. In some ways, it stands, a hulking mass (Andres the Giant?), in the corner opposite Houellebecq’s Map and the Territory. (Wrestling allusion thrown in for Chad’s sake.)
There is a plot, yes—the young traveler of the title stumbles into the neither here-nor-there city of Wandernburg (think of a magic mountain nestled among invisible cities), falls in love with a betrothed woman (you will too), demonstrates the affinities between translation and love (it’s sexy), fends off the stuffy morality of small town life (no surprises here), all while a mysterious rapist is on the loose (actually, stated like this, a lot does seem to happen)—but this is above all a novel of ideas, of heady conversation, of intellect. Which, fortunately, does not make it any less riveting.
Most of the action, for lack of a better word, in Traveler of the Century takes place in a salon, among a set of conversationalists who range from the brash and revolutionary to the staid, the ill-informed, and the amusingly ill-equipped. Ideas are bandied about, poetry is recited, and sexual tension swells until it can no longer be contained. Neumann’s ability to pace a novel in which conversation is the primary mover is admirable and although some of his efforts early in the novel are a little clumsy, he picks up steam and refinement as he proceeds. This is an interesting phenomenon to watch unfold: Neumann’s work is by no means perfect. Instead, it’s one of those novels in which the seams sometimes show, reminiscent of Bolano’s Savage Detectives, in which the reader gets to watch a writer figure it out as he goes along. The rewards have to be more than sufficient for a book like this to work, and they are, they are.
Fittingly, some of most remarkable moments in Traveler of the Century concern translation. In one memorable scene, the professor, a staid conservative who rests on his laurels, argues against the possibility of translation. As the bore goes on and on, Hans, the traveler of the title, reflects that
everything he said was applicable to the field of emotions—in short, someone who disbelieved in the possibilities of translation was skeptical of love. This man . . . was linguistically born to solitude.
And, a few moments later, Hans is forced to concede a point as the professor argues
that it is far easier to think in a foreign language than to feel in it . . . and from this one can deduce that any feeling expressed in another language cannot be the same feeling, not even a variant of it. At best it can be inspired by another feeling. Call this an exchange, an influence or what you will. But, I beg you, do not call it translation.
This fruitful dialectic is a prime example of Neumann’s strategy for moving his novel along. It also brings to mind several questions about the nature of translation, which is of course relevant to anyone reading this blog.
I stated earlier that this is not a perfect book, but I nevertheless believe it deserves to win the BTBA because its merits far outweigh its imperfections: Traveler of the Century is, like the wandering city in which the traveler finds he cannot escape, a place to get lost in.
Jeremy Garber is a used book buyer for a large independent bookstore. (And one of my GoodReads friends, where I read a lot of his reviews.) His work has appeared in The Oregonian, the Oregon Historical Quarterly and on Powells.com. He is an avid Philadelphia Phillies fan.
I’ve been hearing about Andres Neuman for some time now, and am very excited to check out this novel. We actually featured him back in 2010 as part of our “22 Days of Awesome” series . . .
Here’s a bit from Jeremy’s review of Traveler of the Century:
Neuman’s lengthy novel could be best described as a postmodern work cast in nineteenth century attire, owing more to the refinement of classical fiction than to the cleverness and affectation of more modern works. Neuman himself describes it thus: a “futuristic novel that happens in the past, as a science fiction rewound.” Traveler of the Century is not set some two hundred years ago merely to capture that era’s milieu, but is done so in a way so as to compare and contrast twenty-first century ideals, beliefs, and moralities against their historical counterparts.
Hans, Traveler of the Century’s itinerant protagonist, is an enigmatic adventurer and translator, intent on a brief stopover in Wandernburg on his way to Dessau, but soon finds himself increasingly unable to make his way onward. As Hans’ stay prolongs itself, he encounters and befriends a number of local residents, including a sagacious, aging, and nameless organ grinder who lives in a nearby cave with his affectionate dog Franz. Hans, per an invitation, begins to attend weekly conversations at the home of Herr Gottlieb, one of Wandernburg’s more esteemed households. At these salon talks, populated by a small group of about six or seven, topics as varied as European history, politics, literature, poetry, religion, art, and architecture are routinely discussed and debated into the late hours of the evening. While there, Hans is introduced to Herr Gottlieb’s daughter, Sophie, a betrothed and independent young woman with whom hans later falls in love and embarks upon an ambitious translation project.
Click here to read the entire review.
Traveler of the Century is an exquisite, dazzling work of fiction. Its author, Andrés Neuman, is a young argentinian writer, born in 1977, whose relative youth is belied by a remarkably prodigious literary output. Neuman has written nearly twenty distinct works, including four novels, nine books of poetry (a tenth compiles them), four short story collections, a book of essays, and a book of aphorisms (in addition to his translations of german poet Wilhelm Müller). His writing has been celebrated throughout the Spanish-speaking world, having attracted a number of prestigious awards, and his international renown is clearly on the ascendancy as his works find their way into ever more translations.
With the publication of granta’s winter 2010 issue (“Best Young Spanish-Language Novelists”), many English-speaking readers had their first introduction to Andrés Neuman via his short story “After Helena.” The late Roberto Bolaño offered his own high praise for Neuman (well before Traveler of the Century had even been written), including a short piece about him (“Neuman, Touched by Grace”) in his nonfiction collection Between Parentheses (published in English translation in 2011). Bolaño, ever the discerning critic, wrote about neuman after reading his first novel (Bariloche):
Good readers will find something that can be found only in great literature, the kind written by real poets, a literature that dares to venture into the dark with open eyes and that keeps its eyes open no matter what. In principle, this is the most difficult test (also the most difficult exercise and stretch), and on no few occasions neuman pulls it off with frightening ease . . . When i come across these young writers it makes me want to cry. I don’t know whether a drunk driver will run them down some night or whether all of a sudden they’ll stop writing. If nothing like this happens, the literature of the twenty-first century will belong to Neuman and a few of his blood brothers.
With Traveler of the Century, Neuman’s first book to be translated into English, it is evident that the myriad hype surrounding this young writer is indeed well-deserved.
Written in Granada between the spring of 2003 and the fall of 2008, Traveler of the Century (El Viajero del Siglo) was published in Spanish in 2009 and was summarily awarded two of Spain’s most distinguished literary honors (the Alfaguara Prize and the National Critics Prize). The awards themselves place Neuman in the company of a veritable who’s who of Latin American letters, counting as their recipients Cela, Vargas Llosa, Donoso, Onetti, Marias, and Vila-Matas, amongst others. His fourth novel, Traveler of the Century has already been translated into ten languages.
The novel is set in the small, fictional German town of Wandernburg sometime in the early nineteenth century (presumably in the mid- or late-1820s). A town where the streets are constantly rearranging themselves, “it is impossible to pinpoint the exact location of Wandernburg on any map, because it has changed places all the time.” Wandernburg, from the german verb “wandern” (to hike, ramble, roam, or wander), is nestled between Dessau and Berlin in the northeastern part of the country. Despite the metaphysical qualities inherent in the town’s geographical layout, it would be a grave error to classify Traveler of the Century as containing any elements from the Latin American subgenre of magical realism.
Instead, Neuman’s lengthy novel could be best described as a postmodern work cast in nineteenth century attire, owing more to the refinement of classical fiction than to the cleverness and affectation of more modern works. Neuman himself describes it thus: a “futuristic novel that happens in the past, as a science fiction rewound.” Traveler of the Century is not set some two hundred years ago merely to capture that era’s milieu, but is done so in a way so as to compare and contrast twenty-first century ideals, beliefs, and moralities against their historical counterparts.
Hans, Traveler of the Century’s itinerant protagonist, is an enigmatic adventurer and translator, intent on a brief stopover in Wandernburg on his way to Dessau, but soon finds himself increasingly unable to make his way onward. As Hans’s stay prolongs itself, he encounters and befriends a number of local residents, including a sagacious, aging, and nameless organ grinder who lives in a nearby cave with his affectionate dog Franz. Hans, per an invitation, begins to attend weekly conversations at the home of Herr Gottlieb, one of Wandernburg’s more esteemed households. At these salon talks, populated by a small group of about six or seven, topics as varied as European history, politics, literature, poetry, religion, art, and architecture are routinely discussed and debated into the late hours of the evening. While there, Hans is introduced to Herr Gottlieb’s daughter, Sophie, a betrothed and independent young woman with whom hans later falls in love and embarks upon an ambitious translation project.
Neuman’s novel is colored by a number of rich subplots that are woven effortlessly into an already well-textured narrative. A series of nefarious and sinister crimes work their way into the tale, for example, and are portrayed in stunning complement to other rising action. Minor characters, such as Hans’s new best friend (and weekly salon attendee), Álvaro, figure prominently into the story and are as well-conceived and believable as both Hans and Sophie. Nearly every aspect of Traveler of the Century seems carefully crafted and assiduously arranged. Neuman’s prose is both beautiful and engaging, lending the novel yet another characteristic that makes up its captivating essence.
Traveler of the Century, at heart, is both a novel of ideas and a love story. Neuman explores many exigent issues throughout the book (relevant to both post-napoleonic Europe and the modern world), including continental politics, national sovereignty, war, peace, economic development, immigration, poverty, nation building, empire, women’s rights, labor, and revolution, as well as more literary subjects such as poetic norms, style, philosophy, fiction, and the role of the translator. that neuman was able to so expertly include these elements into the novel without straying into the didactic, rendering them essential components to the story, demonstrates the mastery with which he composed this fantastic book.
Neuman’s work, in all its many aspects, represents a summation of the narrative form. Traveler of the Century is a complete novel that allows us an opportunity to reassess the present (and the future) by looking behind us. It is truly a timeless tale, one that demonstrates a past, once contemplated through the often clarifying lens of fiction, not all that dissimilar from the contemporary. Andrés Neuman seems to possess a formidable talent, and Traveler of the Century may well presage a lengthy and accomplished literary career the likes of which only come along a few times in a generation. Traveler of the Century, while penned by a young, spanish author born in Argentina, is, nonetheless, an European novel of considerable consequence. As more of his works undoubtedly make their way into translation, Andrés Neuman is surely a name that will come to be uttered in the same breath of his masterful forebears.
When I was young, because I was young once like you, I heard many organ grinders play, and I can assure you no two tunes ever sounded the same, even on the same instrument. That’s how it is, isn’t it? The less love you put into things the more they resemble one another. The same goes for stories, everyone knows them by heart, but when someone tells them with love, I don’t know, they seem new.
Now that the University of Rochester’s mail services is back from break, I’m swimming in a sea of books, catalogs, and mailed in donations from our annual campaign. (Well, OK, maybe not swimming in a sea of donations, but thanks to all of you who did donate. And if you haven’t donated, you can by clicking here.)
One of the more interesting catalogs that arrived over break was the new Spring/Summer 2011 catalog from Dalkey Archive. There are a $%^&load of translations in here, from a number of different languages and countries. With the total number of original translations plummeting in 2010 (more on that later this week when I finally finish updating the Translation Database), I’m sure that Dalkey will be one of the top producers of translated literature.
As alluded to in the earlier post about Hotel Europa, Dalkey has traditionally supported its authors by publishing (and reissuing) several of their works, rather than dumping them if sales for a particular title aren’t all that impressive. This is very admirable, and this catalog features books from a number of “classic” Dalkey authors. (Can’t find these titles on the Dalkey site, otherwise I’d link to them. And all quotes are from the catalog):
In Exiled from Almost Everywhere, Juan Goytisolo’s perverse mutant protagonist—the Parisian “Monster of Le Sentier”—is blown up by an extremist bomber and finds himself in the cyberspace of the Thereafter with an infinite collection of computer monitors.
Dark Desires is the author’s autobiographical fantasia on the ten years she spent living in New York City. Valenzuela has called this book her “apocryphal autobiography,” and in it she says very little about her work as a writer, about the city itself, or even about literature.
In a city not quite of any particular era, a distant and calculating man named Lenz Buchmann works as a surgeon, treating his patients as little more than equations to be solved: life and death no more than results to be worked through without the least compassion.
There are also a number of interesting sounding “new voices”:
Talismano is a novelistic exploration of writing seen as a hallucinatory journey through half-remembered, half-imagined cities—in particularly, the city of Tunis, both as it is now, and as it once was.
An unassuming, unambitious man named Motti, who owns a dog named Laika, has a good friend named Menachem. Motti and Menachem drink beer together every week, and Motti spends the rest of his time daydreaming an imaginary love story for himself and his neighbor, Ariella. Motti is the very picture of inertia, until, one night, a drunk Menachem, driving home from a bar with Motti, runs over a woman and kills her.
They’re also doing a couple Japanese Literature Publishing Project titles (Plainsong by Kazushi Hosaka and The Shadow of a Blue Cat by Naoyuki Li), and, what may the be the most exciting announcement, they’re brining out Mark Polizzotti’s new translation of Raymond Roussel’s Impressions of Africa.
I’m sure we’ll end up covering a number of these on the site, and as I peruse more catalogs, I’ll post other “Spring/Summer 2011 Preview” posts . . .
As we mentioned a few Fridays ago, we’re going to spend the next 4 days highlighting all of the authors selected for Granta’s _“Best of Young Spanish-Language Novelists” special issue. All past and future posts related to this issue can be found by clicking here.
Today we’re featuring Colombian author Andres Felipe Solano. An excerpt from his new novel—“The Cuervo Brothers”—was translated by Nick Caistor for this issue.
In the end, I wonder if the Shavelzon Agency will be the big winner of all this Granta publicity. They represent a few of the featured authors, including Andres Neuman, Pola Oloixarac, and Andres Felipe Solano. (They also represent both Manuel Puig and Juan Jose Saer, which are two reasons why I love them. That and their brochures and catalogs are as slick as sin.)
Solano has an interesting backstory (don’t all these authors?): Back in 2007 he lived in one of the diciest neighborhoods in Medellin and worked in a factory for six months. (Which reminds me of the book Mark Binelli is writing about Detroit, except for the whole “working in a factory” bit. I think the image of Mark working in a factory will keep me in giggles all day . . .) He converted this experience into an essay entitled “Seis meses con el salario minimo” (which can be translated either as “Six Months at Minimum Salary” or “FML: Minimum Wage Is a Racket!”) that was a finalist for the prize awarded by the Fundacion Nuevo Periodismo Iberoamericano, chaired by Gabriel Garcia Marquez. (If you’re interested, you can read the entire essay here.) Solano also had a six-month literary residence in Seoul, where he met his wife. Which is sweet.
The excerpt from his novel in progress is pretty intriguing and exemplifies a lot of ways to pull a reader in—bit of a mystery, unfounded rumors, unfounded mysterious sex rumors.
The Cuervo brothers claimed to have been transferred from a school whose name we had never heard of. The older one started in the second year, a class below me. The younger one joined in the last year of primary school. From the very first week there were all kinds of stories about them. As the months went by, these grew like the number of bullfrogs in the rainy season. During these holidays, I’ve classified them all in a notebook. Going over them carefully, I’ve established four categories:
As was to be expected, the first rumour spread about them was that they were queer. Gay as butterflies, but not very brightly coloured. Brown or perhaps black, those with just a flash of yellow or aquamarine blue. When we started having girlfriends, my best friend Diego told me that one night, after seeing Alien 3 with María Adelaida in the Embajador, he caught sight of the older brother selling himself on the corner of the Terraza Pasteur shopping mall. He got into a green jeep in a parking lot and began sucking off an old guy who looked like a military man. While he was face down, the guy was playing with his false teeth, or so Diego said, without the trace of a smile. The wildest story in this category was about their bodies. According to the person telling it (I can’t remember now who that was), the brothers were born hermaphrodites, and someone saw them binding up their breasts in a toilet before a PE class. After that we got on to their families. As soon as we learned they lived on their own with their grandmother, crime was added to the sex stories we swapped during break time. The worst of these concerned the double life their mother had lived. She had been a high-class whore, but their father found out when they were only little and slit her throat. He was in Gorgona prison, and had five years left to serve of his sentence. When he got out, he was going to reclaim them, and would kill everyone who had made fun of them. I remembered, though, that in a history class once, we had been told the island prison of Gorgona had been closed in 1977, when the only inmates left were poisonous snakes.
The sinister stories all started with a melodramatic incident. At first there was a rumour they had escaped from an orphanage south of the city. The wealthy spinster they were now living with helped them run away one night through a drainage pipe, and took them to live in one of the 1940s mansions that still survived in the neighbourhood around the school. Most of them had been pulled down or converted into car workshops, but the house where the Cuervos lived was just as it had always been, with its lofty English appearance. Others said they were her legitimate grandsons, flesh of her flesh, but that every weekend she chained their hands and feet, locked them in the basement, and only gave them wheat broth and stale bread to eat. That’s why they smelled so badly when they came to school on Mondays, it was said. The most dreadful aspect of the whole thing was imagining them having to eat that thick soup, that slimy gruel we all hated when it was served up in the school canteen. Some boys even said the dungeon they were kept in communicated directly with the basements in Avenida Jiménez, the ones near the spot where Gaitán was killed, and that his real killer had escaped through them. I myself invented the rumour that the younger one suffered from a strange illness which meant he could only see in black and white, and that was why his eyes were wrinkled like prunes. Nobody liked that one. So I invented a syndrome which gave him convulsions and made him clasp his balls if he spent too long in the open air. That explains why he never plays football, I said, to clinch the argument.
[. . .]
One of the more sinister rumours had it that when the drug traffickers began exploding car bombs, the brothers used to go to the scene of the explosion and take photos of the burned-out wrecks, the buildings with shattered windows, the mutilated, wounded, and even of the dead bodies. Although no one at school ever saw these photos, I discovered them one evening when they left me alone in their second-floor library. They had classified them in different folders. There were some of the bomb at the El Espectador newspaper office, and the DAS security headquarters, others of the one in the Quirigua neighbourhood, or at the Carulla supermarket on 127th Street in 1990, close to my auntie’s house. I remember that last one very well. It was a Sunday, Mother’s Day. The bomb went off an hour after we bought a cake with confectionery roses on it in the shopping mall where the bombed supermarket was. They also had photos of the bomb at the 93 Centre. It was dreadful to imagine them catching a bus to the scene of the explosion, then standing there in the midst of the tragedy, calmly taking photos. I calculate that when the DAS bomb went off they must have been thirteen and fifteen, if that. And now I come to think of it, when the school put into practice an evacuation plan in case of an attack – the son of an army officer who was at loggerheads with a drug baron was studying with us – the Cuervo brothers started carrying gas masks in their satchels. Diego and I saw them and asked where they had got them. They said their grandmother had bought the masks in the flea market. As extravagant as ever, Zorrilla assured everyone they must have belonged to their grandfather.
The first time I went to their house, the grandmother received me in a small reception room that was obviously for brief, informal visits.
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Although it hasn’t been covered in the U.S. papers (at least to the best of my knowledge), Argentine author Rodolfo Fogwill passed away at the end of last month. He published a ton of stuff in Argentina—around 20 books—but only one—Malvinas Requiem—has been published in English translation. Typical situation, but this really blows. Malvinas Requiem is a really incredible book . . . Didn’t get much play here in the States (again, typical; again, really blows), but you can read my review of it here.
Anyway, the Guardian has a great piece on Fogwill written by Nick Caistor, who, along with Amanda Hopkinson, translated Los Pichiciegos into English. Whole obituary is worth checking out, but here are a few awesome highlights. (Which will likely make at least some of you want to read more about Fogwill):
Loud-mouthed, provocative, often downright rude, the writer Rodolfo Fogwill was a legendary figure in recent Argentinian literature. Fogwill, who has died aged 69, from pulmonary emphysema, probably exacerbated by his inveterate chain-smoking, quarrelled with everybody, was intolerant of any writing or behaviour that in his view smacked of political correctness or pretension, and yet wrote some of the most resonant short stories and novels in Argentina of the past 30 years.
The story surrounding the way he wrote one of his most important novels, Los Pichiciegos (1983), is typical. The book was a protest at the horror of the war fought between Britain and Argentina over the Malvinas/Falkland islands in the South Atlantic, and at the stupidity of war in general. Fogwill claimed to have written the book in six days during June 1982, while the war was still going on, keeping himself going with vast amounts of cocaine and whisky. [. . .]
Born in Bernal, on the outskirts of Buenos Aires, Fogwill tried to convince me his surname was English, claiming he had ancestors in Fox Hill, in Sussex. An only child, he studied medicine and sociology at the University of Buenos Aires. He began teaching there, but fell foul of the military regime that took power in 1966. “I was sacked for being a communist, the worst insult imaginable for the Trotskyist I was at the time.”
This reversal took him into the world of advertising, where, he claimed, he made and lost several fortunes. His work again caused him problems during the military dictatorship at the end of the 1970s, when the authorities accused him of sending a subliminal message to a banned leftwing group in a TV commercial he had produced. The authorities closed his bank accounts and arrested him for “economic subversion”. Thrown into jail, he could not pay his debts, and so eventually was tried for fraud.
Which led him to become a writer! And a brilliant one at that.
His pronouncements on literature were always trenchant: “To write seems to me easier than trying to avoid the feeling of meaninglessness that not writing brings”; or “Literature doesn’t tell stories, but ways to tell stories”.
I can’t figure out why Malvinas Requiem isn’t listed on the Serpent’s Tail site . . . I think it’s still in print (came out like two years ago, so one would hope), and it’s definitely worth checking out.
I can’t access the full review (yet), but according to Stephen Mitchelmore at This Space the new issue of the TLS has an interesting review by Nick Caistor on Enrique Vila-Matas’s Dublinesca. Here’s an interesting bit that Stephen pulled out:
Vila-Matas insists that there is a “moral contract” between writer and reader, and that the reader should be active, showing a “capacity for intelligent emotion, a wish to understand the other person, and to get closer to a language that is different from that of our daily tyrannies”. He goes further, declaring that: “the same skills needed to write are also needed to read. Writers can fail readers, but the reverse is also true, and readers fail writers when all they look for in them is a confirmation that the world is exactly how they see it”. In spite of all the playfulness therefore, the game of literature is the most serious and urgent there is.
Vila-Matas is a personal favorite—his Montano’s Malady is pure genius—so I’m excited to find out more about Dublinesca. And I did hear from Declan at New Directions that they signed this book on, so it will be available in English at some point in the future. In the meantime, ND is bringing out Vila-Matas’s Paris Never Ends sometime next spring (?). Can’t wait . . .
In selling literature in translation, there’s always a joke/fear that readers won’t pick up a book by an author whose name they can’t pronounce. Or if they do, that they’ll struggle dealing with names and places that are unfamiliar, with too many consonants, that are obviously foreign.
Rodolfo Fogwill’s Malvinas Requiem has a similar, yet different problem—my guess is that most U.S. readers have no idea what “Malvinas” might signify, and although “Falkland Islands” might help clarify, the Falkland War is not something frequently studied in our not-very-top-notch public school system.
Which is a shame, since Fogwill’s book is quite remarkable, deserving of the Catch-22 comparison in the jacket copy, and a very interesting, literary “war book” that is both localized and universal in its themes.
Just to refresh everyone’s memory, the Falklands War was fought in 1982 between Argentina and the United Kingdom over the disputed Falkland (or Malvinas) Islands. Argentina invaded in March, lost the war in June. About 250 Brits died in the war, and about 650 Argentines. What’s also worth noting—at least in regards to Argentina—is that this war fueled the growing protests against the Argentine military government, leading to its collapse.
Against this backdrop, Fogwill tells the story of the “dillos” (short for armadillo), a group of Argentine deserters who are living inside a cave, trading goods with both the British and Argentine armies, trying to survive the conflict.
Each newcomer was told: the Kings are in charge here, they’re the ones who started everything. The Sergeant started it all. The Sergeant had got together the Turk, Quique and Viterbo, when they began to dig the trenches. He had lined them up in front of him, grabbed them by the lapels, gave them a shaking, and asked:
‘Are you arseholes or what?’
‘No! You lot aren’t arseholes, you lot are the smart ones. Are you smart?’ he’d screeched.
‘Yessir. Yes, Sergeant,’ the three replied.
‘Well then,’ the Sergeant said to them. ‘Here’s what you do. Go further up,’ he pointed at the mountain, ‘and dig there.’
He explained that the trenches were useless. Headquarters had designed them, drawn them on a map. He said that when it rained those trenches would flood, and that everyone would either drown or freeze like idiots, and that the smart ones should go and start digging in the mountainside, without a word to anyone.
The dillos, firmly established in their Warren, with a pack of smokes a day for everyone, and plenty of food (from giving away strategic info to the Brits), joke, talk politics, and create a livable community. But the war is always raging on in the background, and Fogwill has a tremendous ability for switching from more light, casual writing to something more jarring and violent. The use of the second-person in this passage works particularly well to disrupt the reader’s sense of comfort.
On the islands the sheep run and jump about more than the dogs do. They leap over a wire fence as if it were nothing to them: just raise their forelegs and jump. Now the human observes the sheep from a way off and thinks: ‘What a fucking stupid animal: the best it can manage is to run off!’ He carries on observing her for a while, having nothing better to do, while waiting for real night to close in, so he can return to the Warren. All of a sudden there’s a flash of light: boom! Beneath the sheep’s hooves lay a mine and when she trod on it, there was a blinding flash of fire as through the sun had suddenly risen. You could see the whole sheep suspended in mid-air. She pulls in her legs, turns her head, and looks backwards, twisting her head as if she had the neck of a giraffe. She’s flying through the air, and it’s only then that the human, at the very same instant, hears the sound of a mine exploding, blown apart by the sheep.
And expanding from an individual act of random destruction is the group chaos:
When the other sheep—if there are any—hear this, and see what happened to their mate, they stampede in the opposite direction. Instead of remaining quietly on their own, they herd together, before all rushing off as one. That’s the big mistake, because as soon as the next flash of light occurs—meaning another landmine has gone off—another sheep flies into the air like a toy animal then disintegrates, and the ten or twelve other stupid sheep around her also jump and, too far from the explosion to be blown apart, still drop down dead with their muzzles flat on the ground, after struggling in vain to get up again.
In many ways, this is a nasty, disturbing book. The reader’s comfort is constantly provoked, building up to a rather horrifying conclusion. This is much more than a war novel though, and the construction of the novel is quite interesting. As the reader finds out towards the end, the author of the book is writing it based on tapes of conversations with the dillos. Which leads to an interesting artistic question—this novel first came out 1983 and was written right after the war, when there wasn’t a lot of widespread information about what had actually happened on the islands, yet according to others, Fogwill’s descriptions are remarkably accurate, and insightful, which is one of the reasons this book is credited with helping fan the anti-military fires in Argentina.
And today, twenty-five years later, the book is definitely still work reading. The translation is fantastic—Nick Caistor and Amanda Hopkinson always do a wonderful job—and the book is interesting on so many levels, even if you have no idea where the Falkland Islands are located.
This slender, uncanny volume—the second, best-selling collection of stories by Russian author Ludmilla Petrushevskaya to appear in the U.S.—has already received considerable, well-deserved praise from many critics and high profile publications. Its seventeen short tales, averaging ten pages each, are. . .
The Urdu word basti refers to any space, intimate to worldly, and is often translated as “common place” or “a gathering place.” This book by Intizar Husain, who is widely regarded as one of the most important living Pakistani writers,. . .
The Whispering Muse, one of three books by Icelandic writer Sjón just published in North America, is nothing if not inventive. Stories within stories, shifting narration, leaps in time, and characters who transform from men to birds and back again—you’ve. . .
Luis Negrón’s debut collection Mundo Cruel is a journey through Puerto Rico’s gay world. Published in 2010, the book is already in its fifth Spanish edition. Here in the U.S., the collection has been published by Seven Stories Press and. . .
To have watched from one of your patios
the ancient stars
from the bank of shadow to have watched
the scattered lights
my ignorance has learned no names for
nor their places in constellations
to have heard the ring of. . .
When Icelandic author Andri Snær Magnason first published LoveStar, his darkly comic parable of corporate power and media influence run amok, the world was in a very different place. (This was back before both Facebook and Twitter, if you can. . .
When starting Hi, This Is Conchita and Other Stories, Santiago Roncagliolo’s second work to be translated into English, I was expecting Roncagliolo to explore the line between evil and religion that was front and center in Red April. Admittedly, I. . .