After two exciting quarterfinal match ups yesterday—with Chile and Mexico moving on to the semifinals—we’re back today with two “impossible to call” matches. First up is Michel Houellebecq and the pride of France facing off against America’s David Foster Wallace as The Map and the Territory takes on The Pale King.
Houellebecq’s trek to the quarterfinals started with a 3-2 victory over Ecuador and Alicia Yánez Cossío’s The Potbellied Virgin. He then rolled Cesar Aira and An Episode in the Life of a Landscape Painter 4-1.
DFW started with a tough matchup against Portugal’s Gonçalo Tavares and his novel Jerusalem, but the American prevailed 3-2. Then, he took down Belgium’s The Misfortunates by Dimitry Verhulst by a score of 3-1.
Two heavyweights in today’s first quarterfinal . . .
P.T. Smith: USA
The Map and the Territory may play a flawless game, but it’s a familiar one, and like in soccer, those teams are always at risk against ambitious teams that have moments of glory, hoping their inevitable stumbles don’t cost them. The Pale King made me laugh more than anything in a long while, and created full consciousnesses on a single page. There are flaws, yes, but DFW’s writing is to an unfinished book as Tim Howard is the U.S. defense, and The Pale King holds on. Besides, when, other than WCL and the WC, do I get to root for the U.S. and have it not involve corporate capitalism or the military?
Lori Feathers: France
The Map and the Territory defeats The Pale King because it contains all the elements of the perfect novel: big ideas (art, death, capitalism), a great narrative with good pacing (this is where Houellebecq smokes DFW), and Houellebecq’s expressive (sometimes great) writing style. Not to mention, inventing his own brutal murder (so few remaining body parts that they fill only a child’s coffin) is original and ballsy enough to advance beyond the quarterfinals.
Tom Roberge: France
This match makes you painfully aware of the folly in pitting works of art against each other. If I’m forced to choose a winner, then I give the edge to Houellebecq if only because I enjoyed reading The Map and the Territory more, and pure and simple pleasure has to count for something.
Scott Esposito: France
The Pale King isn’t even actually a book after all . . .
Lance Edmonds: USA
By a mile.
Will Evans: USA
How funny to have two powerhouse novels by two brilliant authors who feature caricatures of themselves as characters in these two sloppy but brilliant novels. I preferred The Pale King but it came down to a shoot out for me.
Ryan Ries: USA
The Map and the Territory is a dark (and darkly funny) novel about death and art, a work that might be deemed a masterpiece if its author hadn’t already written one. The Pale King is shaggy, of course, disjointed and overlong too, but it also contains a few dazzling passages that make your heart ache in recognition of the so-called “human condition.” In a close match, it is these moments of transcendence, despite a consistent and accomplished effort from France, that push USA through to the semifinals.
And the US World Cup of Literature representative does what the US Men’s National Team just simply can’t: move on to the semifinals where The Pale King will face off against Mexico and Faces in the Crowd.
Conventional wisdom pronounced that Team USA would face a quick death in this year’s World Cup: drawing into the “group of death”; no superstar players; Coach Klinsmann’s pessimistic prognosis of his team’s chances. But Team USA survived (just barely) to advance to the “knock-out” stage and so too, The Pale King to face-off Belgium’s, The Misfortunates.
A few years after his death and much later than really serious readers of contemporary American literature, I read David Foster Wallace’s Infinite Jest. I had mixed feelings before starting. I’ve always loved fat, dense novels—tomes of 700 plus pages are, by their very nature, projects, commitments, not something that you undertake on a whim and works that challenge your perseverance. But, experimental fiction left me cold—the effort to do something different (dare I say novel?) was too apparent, overwhelming the characters and the story. When I reached the last of its 980 pages (plus 95 pages of (very small print) endnotes), I admired Infinite Jest. I did not always enjoy reading Infinite Jest. And in any case, I was certain that I had read enough DFW to last my lifetime. Then I drew The Pale King in the 2014 World Cup of Literature . . .
On its face The Pale King is about the Internal Revenue Service and a bureaucratic snafu that creates a case of mistaken identity between two IRS employees named David F. Wallace. The characters orbit a back-story involving the mismanagement of tax returns and an IRS regional processing center’s bungled cover-up. (I don’t think that Lois Lerner read The Pale King.) But do not read The Pale King if you are looking for a novel with a strong plot. What you will find are fully drawn characters who feel alive and true, with their various neuroses, skin conditions, glandular disorders, and hardship enduring the consistent drudgery of the Service. These people (mostly men) are boring. Their work is boring. And DFW’s slow, granular descriptions, use of repetition and bureaucrat-speak make the tedium of their lives palpable. The labyrinthine IRS procedures and protocols depicted are absurd. But for these “anti-actors” adherence to them is a test of will, even heroic. Weak will is failure.
I worked for a number of years as a GS-9 and GS-11 (I never got to ride in a government repossessed Gremlin), and as I recall, my federal agency was less grim and more sensible than that depicted in the pages of The Pale King. But when your topic is the IRS, artistic license allows, even demands, some exaggeration. And this is a funny book. The Pale King is every bit as brilliant as Infinite Jest but its focus is the mendacity of office work, a world more familiar than Quebec separatists, elite tennis academies, and movies that inflict mind controlling paralysis and death on unsuspecting viewers. And, this, I think, makes it a better book.
And the writing is great: immediate, but not urgent; technical, but accessible; overly descriptive, but entertaining. All of the opposing elements combine to create something extraordinary, like eating something that is both sweet and salty. Obviously The Pale King could (should) have been written with more economy, but the effect would have been diminished. The time and attention given to the characters’ emotions, impressions and thoughts made them mine, as well. Self-doubt, pride, paranoia, hubris and many of the feelings that equate to being human, are acutely felt.
The Misfortunates is a collection of short stories about a very poor, beer-addled family in a small Flemish town, a place that I imagine as similar to the Appalachian village (yes was and still is today, officially, a “village”) where I grew up. Only in Arsendegem, the beer has to be better than Schaefer Light!
The book’s eponymous narrator, Dimitri Verhulst, shares a dozen or so tales from his childhood and early adulthood: misadventures about town, all involving mind-boggling amounts of alcohol, mostly beer. The Verhulst’s are very poor, and when the men of the house take up work from time to time, it is for the single purpose of paying-up their tab at the local pub. Dima’s mother abandons him to his grandmother, father and uncles when he is only ten. Despite the poverty, motherless childhood, and general, non-malicious neglect, Dima’s life is not particularly sad, and his story does not follow the well-trod path of an alcoholic father begetting a damaged son. Instead, Dima is loved by his grandmother and her brood of four sons—he is “our Kid,” and this brings cohesion and a weird normalcy to Dima’s life. It’s refreshing when we see Dima at the end of the book, mostly sober, mostly stable and with a woman that he really loves. The Misfortunates and The Pale King both are very funny. In The Misfortunates, the laughs are copious and frequently ribald, and translator David Colmer deserves kudos for translating Danish humor into sharp, colloquial English. (By contrast, The Pale King’s humor is dry and requires the reader to excavate the text (including the footnotes) carefully in order not to miss some of the funniest bits.) The Misfortunates is good fun, and I encourage you to read it (preferably over a beer or two). I look forward to reading more from Verhulst.
Final score: USA 3 – Belgium 1
The Misfortunates scored some fast, hard laughs, but The Pale King kicked it na gaveta with the undeniable talent of DFW whose fiction reshaped what American literature is and what it can be. Maybe Team USA can do the same for US soccer.
Lori Feathers is an attorney who lives in Dallas, Texas with her two, fat English bulldogs and (not-fat) boyfriend. She is a member of the Board of Deep Vellum Publishing in Dallas.
The result came to me as a shock, more of a shock to me even than to you: the US pulled out a 3-2 stunner of a victory over Portugal in the 2014 World Cup of Literature: David Foster Wallace’s final, posthumous novel The Pale King defeated the concise, nearly-perfect Jerusalem by Gonçalo M. Tavares.
Victory came for the Americans in stoppage time of a tightly contested literary deathmatch—there could be no tie, there could be but one champion in this contest—and the scrappy upstart Americans delivered a deathblow in the final seconds over beautiful, sweet Portugal, nation of literary greats like Saramago, Eça de Queiroz, Lobo Antunes, Pessoa, Ronaldo . . . oh wait, I’m getting literature and soccer mixed up, and letting my obsession show. But that’s what this is all about. Soccer is fun and beautiful and capable of transcendent, much like literature, and sometimes a team like America, a nation that is both overrated and underrated at the same time as much in literature as in soccer, can beat a small but extremely talented punch-above-its-weight literary and soccer powerhouse like Portugal. On any given day, anything can happen, and it did.
The match started off basically at 1-0. I thought of myself as a referee (or, rather, more like what a referee should be), I tried to distance myself from the action in the books, to give an impartial rendering to my judgment. But I can’t lie, I came in pulling for Portugal. After all, I am a translation publisher; I prefer translated literature to American literature. And I had already read Tavares’ brilliant, perfect Jerusalem (arguably his masterpiece) and had never read the massively-hyped, no-way-he-could-ever-live-up-to-the-weight-of-expectation David Foster Wallace, except an essay on lobsters or something (the ridiculous hype this man conjures among people was almost reason enough to start the American squad down a man since I can’t give negative points)—who in so many ways represents what I don’t like about American literature—that, combined with the fact that I honestly thought that since The Pale King is most certainly not his masterpiece that it would be a close game that Portugal would eventually pull away and win in a resounding victory . . . I was wrong.
Without writing actual reviews of these books, because there are plenty of reviews out there, including a tremendous review of The Pale King by Garth Risk Hallberg in New York Magazine and a wonderful profile of Tavares in The New Yorker, neither of these writers are lacking in critical attention, so I will spare you any attempt to write a review and instead get into why DFW/USA beat Tavares/Portugal . . .
These two books are both phenomenal, and packed punches that landed squarely in my gut and my brain at the same time, different in their execution but similar in their ambition, and I recommend everybody to read both (and actually, try to read them both at the same time, like I did, re-reading Jerusalem as I made my way through The Pale King—you start to notice similarities and connections that make each book that much more impactful, which then got me wondering if I should always read two books at once because then all sorts of links are going to open up between the two texts). They both deal with the big questions of existence and of making connections in a modern world that is set up in so may ways to destroy us, break us down, make us inhuman or, worse, tragically normal. The tedium, the crushing boredom, the weight of expectations, the essence of tragedy, the root of human cruelty, it’s all on display in both books. Chalk up another point to each team for getting at the meaning of it all. I appreciate that about literature. It’s tied 1-1 at the half . . .
It has to be said that this is the match of the 2014 World Cup of Literature, and it came in the first round. It felt like a championship. This is like how the Spain-Netherlands championship rematch in the first round should have been played. And in the end, Tavares vs. DFW felt like the Argentina-Bosnia game in the first round: both teams should have won, and when Bosnia finally lost, it was a beautiful loss. They had arrived, they had played, and they could hold their heads high in defeat, knowing they had the skills and talent to take down the mightiest of teams—it’s like that for Jerusalem. If the World Cup of Literature were like the soccer version and there were three matches in the first round, there are only one or two other countries in this literary battle who could take on Tavares and hope to win.
My horror-graph could then lead us to discover something even more basic to the problem of human atrocity: the underlying formula. I mean a numerical, objective, specifically human formula—removed from our animal natures, aside from sentiment and instinct, changes of heart, fluctuations of mood—a purely mathematical, purely quantitative, I would even say detached formula, implied by my results. But: not merely a formula serving as a concise summary of the effects of past horrors; no, my intention is to arrive at another, greater equation; a formula that will allow us to predict the horrors to come, that allows us to act and not just ponder or lament. I intend to develop a formula laying bare the cause of all the evil men do for no good reason—not even out of fear—the evil that seems almost inhuman, precisely because it’s inexplicable. I believe that this is not only possible, but practical. (Jerusalem)
In fact, he started to think that thinking of the speech’s line so much just made him all the more afraid of the fear itself. That what he really had to fear was fear of the fear, like an endless funhouse hall of mirrors of fear, all of which were ridiculous and weird. (The Pale King)
Fear. Horror. Tragedy. Not just the tragedy of war but of everyday atrocities.
And if you put Tavares’ entire oeuvre up against DFW’s oeuvre, who knows how it might tilt, considering that Jerusalem is but one book in a four-part series called The Kingdom (all four books have now been published by Dalkey Archive), and the brilliance of those four books could go up against Infinite Jest in as fair a fight as either side could ever hope to experience . . .
I will now admit freely that I was wrong about Foster Wallace in nearly every way, though at times I could get annoyed with the overwriting and the meticulously unnecessary details (that led to Portugal taking a 2-1 lead right after halftime), but when one steps outside of the novel, the minutiae of the inner workings of the IRS in a period of upheaval within the department as told through a vantage point in 1980s Peoria, Illinois (not far from where Dalkey Archive, the publisher of Tavares’s Jerusalem, is based). The Pale King is a spectacular novel that combines experimental technique with moments of breathtaking clarity and ridiculous sublime beauty in diagnosing the ills of our 21st-century American condition and trying to ways to persevere through the muck of existence.
I learned that the world of men as it exists today is a bureaucracy. This is an obvious truth, of course, though it is also one the ignorance of which causes great suffering . . .
The underlying bureaucratic key is the ability to deal with boredom. To function effectively in an environment that precludes everything vital and human. To breathe, so to speak, without air.
The key is the ability, whether innate or conditioned, to find the other side of the rote, the picayune, the meaningless, the repetitive, the pointlessly complex. To be, in a word, unborable. I met, in the years 1984 and ’85, two such men.
It is the key to modern life. If you are immune to boredom, there is literally nothing you cannot accomplish. (The Pale King)
The truly healthy man necessarily spends most of his life trying, like a child, to find what he feels he’s missing . . . because he lives with a feeling of constant loss, and this sensation is easily mistaken for the feeling of having been robbed, the feeling that someone has stolen something very important from you, a part of your own self—a part that, for the sake of argument, we’ll agree to call “spiritual.” (Jerusalem)
This quote in The Pale King sums up some of the main points of the whole book, and it alone is worth a point, because it’s a very lengthy digression that leads to the same point DFW made very succinctly in his much-lauded 2005 Kenyon College commencement address (published as the oh-so adorable little book This is Water). I like that DFW meanders his way around the point of boredom and finding meaning in things, it leads to The Pale King becoming exactly the type of book I’ve come to expect I have to look overseas to find, so grand in ambition, so sloppy in its telling. Those are my favorite kinds of books. Works of art should be rough around the edges, their perfection comes not from fitting in to any definition of perfection that ever existed before they were born, but rather from the combination of their transcendent and earthly qualities. DFW ties the score at 2 . . . the clock is ticking down.
Much was made before the competition began of the fact that The Pale King is an incomplete novel. Some people told me that the novel was like the 2014 version of the US Men’s National Team: big, fast, and incomplete. Another friend (a judge in this competition!) stressed to me that it is not an incomplete novel, that what DFW left behind was a fully-formulated novel of sketches set out on his desk in a particular way so that when his editor got a hold of the papers after DFW took his own life (right after completing The Pale King) the book would be sitting there, waiting. What has been published is certainly not the 3,000 pages of novellas, sketches, vignettes, ideas, and chaos, but rather a tidy 550+ page avant-garde novel that mixes high and low literature with tedious but necessary IRS lingo, jargon, and facts. And after finishing the novel, I tend to lean with the fact that this is indeed a finished novel. As finished as any novel ever is. Because I come from the school of readers who considers the author’s text to be sacred, it comes from years of schooling in Russian literature and Russian literary theory (or, more simply, from reading Master & Margarita ten times: “Manuscripts don’t burn.” The text is sacred). I consider DFW to be an auteur, a master, an artist (even having never read him before, but definitely now, having finally read him, now with the burning desire to read his every word as if I were a 90s slacker at some Yankee private liberal arts college), and so I believe The Pale King should have been published in its full 3,000 page mess. But DFW’s editor at Little Brown, Michael Pietsch (he now of Hachette-running, Amazon-fighting fame), does not come from the same school of literary theory as me, and so he molded these messy 3,000 pages into a tidy 550+ page piece of strange, hypnotic brilliance.
Jerusalem by Tavares is as close to perfect as novels of ideas get. The characters are there, fully-realized, terrifying and sympathetic and alive, the ideas are in their words and their actions and the spaces surrounding their bodies, and the author’s form is architectural in its tightly-controlled structure, a form that allows the complexity of madness and tragedy in its characters to be realized. This is the point where the match could have gone either way—tied 2-all, a minute or two of stoppage time, desperation heaves on both ends, Tavares throwing his creative weight behind a complex structure that weaves his story in and out of time—and The Pale King too possesses all of those things except in its form, because the form is not the author’s but the editor’s. In American letters, the editor controls the form far more than readers ever realize. The same readers who give translators such a hard time for taking ideas and translating them for English-language readers take into account the interpretive role that editors play at our publishing houses, ruling over translators and authors alike. As I read The Pale King, I felt like I was reading Michael Pietsch as much as DFW, in a way that contrasts how I felt about reading Jerusalem, which I read as the fully-realized novel of one Gonçalo M. Tavares, overlooking the brilliant work of the translator Anna Kushner even as I knew I was reading her version of Tavares’s words, forms, ideas, etceteras. And I love Michael Pietsch for piecing this together (while simultaneously wanting a Nabokovian full-on release of all the notes in all their messy glory).
Is the editor a sort of monolingual translator? The editor translates the words, ideas, and form of an author into the cultural expectations of the reader of that culture, while translators work to translate the words and ideas and form of the foreign language into the cultural expectations of the receiving reader. I’m getting into translation theory. You’re falling asleep. One could go on for days. But should I leave you with any one idea I’m trying to impart here: read The Pale King and consider at once both the role of the editor in the text you’re reading and the ways that you choose to transcend above the everyday boredom that crushes our souls.
It was true: The entire ball game, in terms of both the exam and life, was what you gave attention to vs. what you willed yourself to not.
. . . light traffic crawling with a futile pointless pathos you could never sense on the ground. What if it felt as slow to actually drive as it looked from this perspective? It would be like trying to run under water. The whole ball game was perspective, filtering, the choice of perception’s objects. (The Pale King)
I love both of these books because they concern themselves with “the whole ball game.” Read Jerusalem at the same time and marvel in Tavares’s world, a world so much like ours, but slightly off . . . just like the world will be slightly off on June 22 when the US and Portugal face off in soccer. It’s not impossible for the US to win, in fact they have more than a fighter’s chance but the world may need to rotate slightly off its normal axis to fight off the sheer perfection that is Ronaldo . . . oh damn, there I go again, off on my Ronaldo tangent, when in reality I should know that the US will win because Clint Dempsey, because . . . Texas.
And in the last seconds, the crowd at fever pitch, this judge in a sweat, knowing legions of fans will be let down one way or the other, as my mind swirled, DFW pulled off a stunning goal to win the match 3-2. It could have gone either way, but today, today the ball game went to the USA.
Will Evans is the publisher of Deep Vellum, a new pressed based in Dallas, Texas dedicated to literature in translation.
“Rambling Jack—what’s that?”
“A novel. Novella, I guess.”
“Yeah, it looks short. What is it, a hundred pages?”
“Sorta. It’s a duel language book, so really, only about… 50 pages total.”
“And this—what. . .
Many authors are compared to Roberto Bolaño. However, very few authors have the privilege of having a Roberto Bolaño quote on the cover of their work; and at that, one which states, “Good readers will find something that can be. . .
In Josep Maria de Sagarra’s Private Life, a man harangues his friend about literature while walking through Barcelona at night:
When a novel states a fact that ties into another fact and another and another, as the chain goes on. . .
César Aira dishes up an imaginative parable on how identity shapes our sense of belonging with Dinner, his latest release in English. Aira’s narrator (who, appropriately, remains nameless) is a self-pitying, bitter man—in his late fifties, living again with. . .
Originally published in French in 2007, We’re Not Here to Disappear (On n’est pas là pour disparaître) won the Prix Wepler-Fondation La Poste and the Prix Pierre Simon Ethique et Réflexion. The work has been recently translated by Béatrice Mousli. . .
Even though the latest from Jean Echenoz is only a thin volume containing seven of what he calls “little literary objects,” it is packed with surprises. In these pieces, things happen below the surface, sometimes both literally and figuratively. As. . .
Who is this woman? This is the question that opens Xiao Bai’s French Concession, a novel of colonial-era Shanghai’s spies and revolutionaries, police and smugglers, who scoot between doorways, walk nonchalantly down avenues, smoke cigars in police bureaus, and lounge. . .