Every week, I’m more and more impressed with the B&N Review. And I swear, it’s not just because our books turn up in there on a rather regular basis . . . The latest to be reviewed there is Ilja Leonard Pfeijffer’s Rupert.
Great piece by Christopher Byrd that opens:
Scout’s honor: On a purely linguistic level, there was something about Pfeijffer’s sentences with their direct, unbuttoned elegance that reminded me of Philip Roth. This comparison shimmered in my mind before I got to the third chapter of Rupert: A Confession, where an uproarious bit of mortification ties the novels lineage to Portnoy’s Complaint. Let’s just say here, too, is a novel for those who aren’t made skittish by a torrent of testosterone. Like its predecessor, Rupert takes the form of a personal disclosure, though its end point is much darker.
Well, at least in relation to Open Letter books . . . The new issue of Harper’s has two pieces on Open Letter titles: a long review by Robert Boyers of Woman of Rome: A Life of Elsa Morante by Lily Tuck and a shorter review of Ilja Leonard Pfeijffer’s Rupert in Benjamin Moser’s New Books column. (Both pieces are accessible online to subscribers only.)
Rupert: A Confession just released this week, but is available at better bookstores everywhere, and through our website. And I think Ben does a better job describing this book that I ever could. After comparing it to Camus’s The Stranger, he brilliantly sums up the novel’s protagonist:
His Rupert is a walker in the city who offers extended thoughts on the proper layout of public squares, methods for downloading and cataloging online pornography, men who wear comfy sweaters (“an arresting demonstration of farmerly freshness of the kind that . . . feels sorry for you because you’re too uptight and inhibited to dress properly”), and the type of woman who “wants to rove around Afghanistan on stolen horses and feel the auras of Tibetan scales with the energy paths of her vulva.”
You can read one of the funniest excerpts from the book here. (Warning: PDF format.) To celebrate the publication of this striking book and our first Harper’s review, we’re going to giveaway 10 copies. To enter into the drawing, simply e-mail me at chad.post at rochester dot edu with your full mailing address.
I’ll write more about Robert Boyers’s piece on Morante later in the month, after the copies of Morante’s Aracoeli are back from the printer. She’s an amazing writer and deserves a post of her own. Not to mention, Robert Boyers wrote the intro for our reissue, so we can include that as well . . . In the meantime though, you can read a sample of Aracoeli by clicking here. (Again, PDF format.)
This was a great week for Open Letter books, with three of our recent releases getting some nice coverage:
In English for the first time in Martha Tennent’s translation, Death in Spring is about a society that finds highly elaborate ways to elude the inevitable and to conquer time. Its means are slow and insidious, ritualistic and bizarre, always teetering on the line between the real and the magical. Its members, obsessed with imprisoning themselves, pour concrete into the mouths of the dead to keep their souls from escaping. Every spring, they paint the houses pink and it’s unclear whether anyone remembers why. Though the novel is propelled forward by a linear narrative, it is its characters’ evasion of this diachrony that is most captivating. The book is driven by linguistic and thematic repetition, like a prose sestina in which the end words could be symbols or simply icons, aesthetic trends or markers that unfold and elaborate the path of the narrative. We see wisteria and bees, horses and butterflies, souls and prisoners weave in and out of the text, each time reappearing with a new relevance, a new level of meaning.
Christopher Byrd’s review of Jerzy Pilch’s The Mighty Angel in the B&N Review is also pretty fantastic:
From the opening paragraph — in which the protagonist awakens to discover a couple of Mafiosi in his room who have taken it upon themselves to act as literary agents for a female poet — to the closing paragraphs that flick away the tragic arc that’s usually prefabricated for books in the end-of-the-bottle genre, Pilch teases out plenty of LOL moments from desultory situations. All told, The Mighty Angel furnishes enough Schadenfreude to stylishly blacken just about any comedic sensibility.
Becky Ferreira at L Magazine agrees:
Pilch’s prose is masterful, and the bulk of The Mighty Angel evokes the same numb, floating sensation as a bottle of oadkowa Gorzka. But it’s not until Jerzy haphazardly reveals facts of his grandfather’s life that the naked grotesquerie of alcoholism pierces through the book’s often casual and flippant wit. Though the final chapters posit a chance at redemption, it remains unclear whether Jerzy is breaking the cycle, or just trading in one vice for another. To Pilch’s credit, both of Jerzy’s possible paths seem unfortunate and equally likely.
What’s riveting about Rupert’s account is his self-assuredness. Yes, he often speaks of ‘Rupert’ in the third person, an abstraction he’s removed from — but then Rupert is, after all, the ultimate ‘I am camera’. It’s a fascinating split-personality on display here — and some . . . perversely fine writing. [. . .] Cleverly, artfully done, Rupert: A Confession is no pleasant read, but an oddly seductive one. Well worthwhile.
Info about the first three books from the spring 2009 Open Letter list can be found here. Today we’re covering our June title, Rupert: A Confession by Ilja Leonard Pfeijffer.
The premise of this book is that Rupert has been accused of a terrible crime (which isn’t revealed in full until the very end) and has to defend himself. His defense—or imagined defense—is a very lively, hilarious affair, that relies more on rhetorical tricks than facts to get him off the hook.
As a novel, Rupert is more emotionally complicated than it first appears. As you can see in the attached excerpt, Rupert has a very vibrant voice—one that draws the reader in almost immediately. Along the way though, it becomes crystal clear that Rupert is way unhinged and probably quite dangerous. Reconciling these two points of view is tricky, especially since the book is very compelling, and as the final “reveal” of the crime itself and Rupert’s relation to it starts to come clear, it’s like watching a train wreck . . .
Ilja Leonard Pfeijffer seems like quite a character. And one of the reasons I wanted to write this today is because he’s now mired in yet another controversy.
According to the translator of this novel—Michele Hutchison, who, in addition to translating, works for the Dutch publisher De Arbeiderspers—told me that for the back cover of his Collected Poems, Ilja wanted to include a naked photo of himself. That’s all fine and good, but Ilja was on the longlist to be next year’s Poet Laureate . . . up until news of this naked photo broke. He was recently kicked out of the competition and the infamous photo has created quite a bit of media buzz.
And here I thought the Netherlands were supposed to be so liberal and open-minded . . .
For the past 140 years, Anna Karenina has been loved by millions of readers all over the world. It’s easy to see why: the novel’s two main plots revolve around characters who are just trying to find happiness through love.. . .
Linn Ullmann’s The Cold Song, her fifth novel, is built much like the house about which its story orbits: Mailund, a stately white mansion set in the Norwegian countryside a few hours drive from Oslo. The house, nestled into the. . .
Karel Schoeman’s Afrikaans novel, This Life, translated by Else Silke, falls into a genre maybe only noticed by the type of reader who tends toward Wittgenstein-type family resemblances. The essential resemblance is an elderly narrator, usually alone—or with one other. . .
In Joris-Karl Hyusmans’s most popular novel, À rebours (Against Nature or Against the Grain, depending on the which translated edition you’re reading), there is a famous scene where the protagonist, the decadent Jean des Esseintes, starts setting gemstones on the. . .
There are books that can only wisely be recommended to specific types of readers, where it is easy to know who the respective book won’t appeal to, and Kristiina Ehin’s Walker on Water is one these. What makes this neither. . .
Imagine the most baroque excesses of Goethe, Shakespeare, and Poe, blended together and poured into a single book: That is The Nightwatches of Bonaventura. Ophelia and Hamlet fall in love in a madhouse, suicidal young men deliver mournful and heartfelt. . .
In 1899, Maurice Ravel wrote “Pavane pour une infante défunte” (“Pavane for a Dead Princess”) for solo piano (a decade later, he published an orchestral version). The piece wasn’t written for a particular person; Ravel simply wanted to compose a. . .