Olivier Pauvert’s Noir — his first and only novel to date — brings nihilism, amorality, and fascism to a dystopian nightmare that manages to make the city of Paris seem less than pleasurable, and even downright frightening. . .Read More...
The Dec 08/Jan 09 issue of Bookforum is now available both in print and online. As always, there’s a lot of great stuff, including a review of Saramago’s Death with Interruptions and Olivier Pauvert’s Noir, which sounds pretty cool:
The dystopian thriller is narrated by an unnamed white man, who discovers the mutilated body of a young woman hanging from a tree. He is arrested for the crime and thrown into the back of a police van, but en route to a location out of town, the van crashes and the narrator finds himself the sole survivor. Panic-stricken, he wanders the streets of Paris trying to piece together what happened, soon realizing, with a “piercing sense of déjà vu,” that he has been transported twelve years into the future. The novel then follows a trajectory of malevolent discovery: The narrator has no reflection, his body has morphed into that of another person, and he can kill others with his maniacal stare. He is neither dead nor alive, a “Bastard With No Name, neither chosen nor condemned, an In-Between, a remanence,” hiding from a government that has devised a method of collective mind control. Only the Noir, a disparate group of nonwhites who fight “not to change anything but just to avoid disappearing altogether,” can help him.
Pedro Zarraluki’s The History of Silence (trans. Nick Caistor and Lorenza García) begins with the narrator and his wife, Irene, setting out to write a book about silence, itself called The History of Silence: “This is the story of how. . .
There are plenty of reasons you can fail to find the rhythm of a book. Sometimes it’s a matter of discarding initial assumptions or impressions, sometimes of resetting oneself. Zigmunds Skujiņš’s Flesh-Coloured Dominoes was a defining experience in the necessity. . .
In a culture that privileges prose, reviewing poetry is fairly pointless. And I’ve long since stopped caring about what the world reads and dropped the crusade to get Americans to read more poems. Part of the fault, as I’ve suggested. . .
I would like to pose the argument that it is rare for one to ever come across a truly passive protagonist in a novel. The protagonist (perhaps) of Three Light-Years, Claudio Viberti, is just that—a shy internist who lives in. . .
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. . .