This is the eighth Reading the World 2008 title we’re covering. Write-ups of the other titles can be found here. And information about the Reading the World program—a special collaboration between publishers and independent booksellers to promote literature in translation throughout the month of June—is available at the official RTW website.
Feverish and hallucinatory, this early novel of Antunes centers around a psychiatrist who participated in the war between Portugal and Angola and hates the practice of psychiatry. Very intense, vitriolic, and occasionally funny (well, at least in one section), this novel is very representative of Antunes, especially early in his career before he became more comfortable with varying his tone, working in more black humor, etc.
I wrote a full review of this back when it came out, and stand by my statement that it’s not his best book. (This recent review in Quarterly Conversation echoes those sentiments. It really is like Faulkner without the funny.)
Ben Lytal’s review in the New York Sun is more forgiving:
But finally, in the long haul of Mr. Antunes’s demanding and effectively overwritten screed, we realize that his narrator is hallucinating, flopping from one memory to the other with such radical accompanying sensory disorientation for the sheer bitter irony of it. To go a little crazy: It’s his ultimate rebellion against psychiatry — or at least it’s his weekend release. Typically Portuguese, perhaps, the literary art of Mr. Antunes turns his point-blank negativity into a refined, self-consuming protest: the psychological novel that can’t believe in itself.
Nevertheless, Antunes is an amazing writer—one of the most important Portuguese writers of all-time, and one of the most talented working today.
There is another book of Antunes’s coming out this fall— What Can I Do When Everything’s on Fire? which is coming out from W.W. Norton in September. And as a special bonus, Antunes is going to be coming to America for the first time in years. He’s going to be in New York—at NYU and the NY Public Library, I believe—around September 22nd, and will be in Washington D.C. on the 26th. I’ll post more about this—including the flap copy—in the near future, after I start reading the book. . . .
Randall Jarrell once argued a point that I will now paraphrase and, in doing so, over-simplify: As a culture, we need book criticism, not book reviews. I sort of agree, but let’s not get into all of that. Having finished. . .
Like any good potboiler worth its salt, Fuminori Nakamura’s The Gun wastes no time setting up its premise: “Last night, I found a gun. Or you could say I stole it, I’m not really sure. I’ve never seen something so. . .
Heiner Resseck, the protagonist in Monika Held’s thought-provoking, first novel, This Place Holds No Fear, intentionally re-lives his past every hour of every day. His memories are his treasures, more dear than the present or future. What wonderful past eclipses. . .
If you’ve ever worked in a corporate office, you’ve likely heard the phrase, “Perception is reality.” To Björn, the office worker who narrates Jonas Karlsson’s novel The Room, the reality is simple: there’s a door near the bathroom that leads. . .
I recently listened to Three Percent Podcast #99, which had guest speaker Julia Berner-Tobin from Feminist Press. In addition to the usual amusement of finally hearing both sides of the podcast (normally I just hear parts of Chad’s side. . .
Let’s not deceive ourselves, man is nothing very special. In fact, there are so many of us that our governments don’t know what to do with us at all. Six billion humans on the planet and only six or seven. . .
“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. . .