This is not a post about my mental state—which is quite fine, thanks for asking—but a long-winded intro to next Monday’s event with Horacio Castellanos Moya. The event is at 6:30 in the Rush Rhees Library in Rochester, so everyone in CNY should come out. Horacio is an incredible writer whose work has been praised by dozens of luminaries, including Roberto Bolano.
Senselessness is a difficult book to pitch. Over the past few days, I’ve waxed enthusiastically about this brilliant novel to several friends, a bartender, my neighbor, some random guy in the park . . . And I’ve been met with a lot of perplexed stares and a bit of “umm, yeah, it sounds . . . interesting“ trepidation.
Aside from the false steps in my pitch (“it’s a book about an editor editing a book chronicling thousands of tortures and other abuses performed by the government on the indigenous people of an unnamed country”), the fact that the humor is in the prose not in the situation (“but her feet reek! Funny, no? No?”), and that the main literary influence (Bernhard) is not the most recognized or appreciated of authors (by the average Rochester reader, at least), the main problem is really conveying the humanity and power found in this book.
This starts to point at the question/problem of what people read for. If you’re most interested in plot, Senselessness might not sound all that appealing. (Is there anyone out there craving a little “Editor Lit”?) And if you want uplifting, you might want to step away from the page-long descriptions of massacres and other absolutely horrifying acts.
That all said, this book is one of the most poetic (frighteningly, shockingly so) and compelling novels I’ve read in a long time—mainly because it’s so character-driven.
And by that I don’t mean that there are a lot of quirky, memorable characters, rather that the way the narrative works—with its spiraling, run-on, page-long sentences that digress upon digression—it clearly and beautifully brings to life the inner workings of one man’s mind: a man who, despite all his boozing, womanizing, and good humor, is being driven, quite possibly with good reason, into a state of intense paranoia.
The narrator of this novel—whose mind we inhabit, whose viewpoint we are limited to—is working on this manuscript of horrors for the Catholic church. This project is being kept secret, for obvious reasons. (The military is generally not keen on exposés like this.) So naturally, the narrator is a bit wary of the government . . .
But what I found more interesting in rereading Senselessness is the ultimate amount of power given to this book, this collection of testimonies, the way that it infects the narrator’s mind, not only with the quasi-grammatical and powerfully poetic lines he comes across and writes in his little notebook (such as I am not complete in the mind, and for always the dreams they are there still, and wounded, yes, is hard to be left, but dead is ever peaceful, and we all know who are the assassins), but also in the way these testimonies both feed his paranoia (if the military is capable of these acts, they’re quite literally capable of anything) and cause him, on a few occasions, to try and imagine himself in the shoes of the aggressors, a devilish twist demonstrating how reading can expose you to different viewpoints. This manuscript the narrator edits is powerful. Powerful politically—exposing the truth is always a danger to the status quo, especially when said status quo is essentially evil—but also powerful in a very personal, very intimate way.
One final thing about this book: Although the sentences are paragraph-long and the paragraphs as long as short chapters, this work never feels as claustrophobic as Bernhard. I’m not exactly sure what it is that allows Moya’s novel to breathe, or have moments of escape, although it may be as simple as the fact that there’s more mobility to Moya’s character—he’s not stuck in a single setting, wheelchair, or situation. He experiences things, and although as readers we’re trapped in his head the whole time, he’s not nearly as self-deprecating, or as self-obsessed as the typical Bernhard character. So don’t be intimidated! Read the first two chapters of this book and I’m sure you’ll be hooked.
One final thing about Moya: His other books (at least the ones in English) are much different than this one. Dance with Snakes is a politically charged fantasy involving a guy who terrorizes a town with a group of near-magical snakes. And The She-Devil in the Mirror is very Puig-like novel in which we hear a series of one-sided conversations about a murder. And definitely check out this piece on the “Myth of Roberto Bolano.”
Finally: Come to the event on Monday at 6:30pm. It should be really interesting. And if you can’t come, we will record this and post it by the end of next week.
Shortly after arriving in Rochester with the goal of creating Open Letter, I was flipping through the Ray-Gude Merlin Agency rights list and came across Horacio Castellanos Moya. I immediately e-mailed Nicole Witt only to find out that New Directions had already purchased the rights to Senselessness.
As a publisher I was disappointed for being late to the game . . . As a reader I was thrilled that this book was going to be available in the near future, and based on the description in the rights guide, I knew this was going to be an amazing book.
The year is only half over, but so far, this is my pick for the best translation of 2008. It’s a stunning book that’s been praised by the likes of Roberto Bolano and Russell Banks. Even more exciting (disappointing from the publisher angle?) is the fact that New Directions is going to be doing more of his works, including She-Devil in the Mirror, which is Francisco Goldman’s favorite.
The first of El Salvadoran Horacio Castellano Moya’s books to be translated into English, Senselessness is frankly, one of the best books to be published this year. It’s one of those rare books written in a very specific, very stylized fashion that’s simultaneously accessible and captivating.
I am not complete in the mind, said the sentence I highlighted with the yellow marker and ever copied into my personal notebook, because this wasn’t just any old sentence, much less some wisecrack, not by any means, but rather the sentence that astonished me more than any other sentence I read that first day on the job, the sentence that most dumbfounded me during my first incursion into those one thousand one hundred almost single-spaced printed pages placed on what would be my desk by my friend Erick so I could get some idea of the task that awaited me.
His “task” is to edit a 1,100-page report of atrocities committed by the military against the indigenous population in an unnamed Central American country. And he has three months in which to finish.
This isn’t a novel about those atrocities though—at least not directly. Against this backdrop of what’s clearly one of the most disturbing, soul wrenching jobs in the history of editing, the narrator tries to live as normal a life as possible, getting drunk in bars, trying to pick up women, surviving amid the accounts of wretched acts in which he spends his daily life. There are several humorous sections to this book, like the bit about the woman’s stinky feet, which is absolutely hilarious in a viscerally disgusting way.
One of the many reasons this book works is the strange demented beauty of the Indians’ accounts, and the demented obsession the narrator has with the manuscript. He keeps choice quotes in a notebook, and has a tendency to read them aloud at bars to stunned, unappreciative audiences:
You’re a poet, just listen to this beaut, I said before reading the first sentence, taking advantage of the marimba having just ended, and in my best declamatory voice, I read: Their clothes stayed sad . . . and then I observed my buddy, but he in turn looked back at me as if he were waiting, so I immediately read the second sentence in a more commanding tone of voice, if that were possible: The houses they were sad because no people were inside them . . . And then, without waiting, I read the third one: Our houses they burned, our animals they ate, our children they killed, the women, the men, ay! ay! . . . Who will put back all the houses? And I observed him again because by now he must have fathomed those verses that expressed to me all the despair of the massacres, but not to my buddy Toto, more of a landowner than a poet, as I sadly discovered, when I heard him mumble something like “Cool . . . ,” [. . .]
Moya’s cadences and run-on sentences that turn on themselves, that contain digressions upon digressions, that shift suddenly in unexpected directions, are masterfully rendered by Katherine Silver. Anything less than a perfect translation would utterly destroy this book. Each sentence, each paragraph, flows with a beauty that is very cinematic and adds a degree of immediacy to the prose.
And, beyond the art, aside from the Bernhardian rhythms, this style, so eloquently rendered, accurately captures and represents the narrator:
[. . .] this guy with a shaved head who very cunningly segued from this remarks about Vallejo’s poetry and its relationship to indigenous languages to a subtle interrogation about my work at the archdiocese and my friendship with Erick, all packaged neatly into his conversation with me at the kitchen table, not paying any attention to calls to join the group in the living room, where things were picking up, as if the guy had known ahead of time about the psychological problems that afflicated me and that consisted of wanting to tell everything once I’d been encouraged to start talking, down to the hairs and the smells, spill it all out to a point of satiety, compulsively, in a kind of verbal spasm, as if it were an orgiastic race that would culminate in my total abandon, until I was left without secrets, until my interlocutor knew all he wanted to know, in an exhaustive confession after which I would suffer the worst possible backlash.
As the novel progresses, the plot gets a bit darker, a bit more paranoid, a bit more inconclusive, leading to an ending that is pretty startling and made me rethink all that had come before . . . I don’t want to give anything away, but any novel that ends with, “ ‘Everybody’s fucked. Be grateful you left.’ “ is a classic in my book.
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