I’ve said it before, and will repeat it endlessly—Ben Lytal has one of the sweetest reviewing gigs there is. He has the opportunity to write about the latest works of international fiction, and at the same time, can write pieces like the one today on the recent New Directions reissues of Nabokov’s Laughter in the Dark and The Real Life of Sebastian Knight.
Set in Berlin, Laughter in the Dark is a highly entertaining but mean-spirited portrait of the German people, with whom Nabokov was forced to live, in exile, after his college graduation. Its hero, an art critic named Albinus who “was not a particularly gifted man,” lives in Berlin, a city that seems soggy with perpetually falling wet snow. Albinus falls in love with Margot, the young ticket girl at a local cinema, and leaves his pale wife and pitiful daughter. But Margot plays Albinus for a fool, and conspires with the cartoonist Axel Rex to deprive him of his solid bourgeois fortune. Axel Rex — a model for Quilty in Lolita — has the best line on Berlin, “where people were, as they always had been, at the mother-in-law stage of humor.”
Though Laughter in the Dark is an initial version of the story told in Lolita, Nabokov didn’t know that at the time. He was merely trying to write a book that would make a good movie.
Of course, Hollywood didn’t pay attention to Nabokov, at least not until Lost came around . . . (It’s funny, Flann O’Brien—whose Third Policeman was also featured on Lost—had a real desire to break into Hollywood as well. He wrote a few TV scripts in fact, although none of them really caught on . . . )
The Real Life of Sebastian Knight is a very different, more writerly book. For one thing, it would be impossible to film. Written for the deadline of a British literary competition, Sebastian Knight is a story about an author. Born in St. Petersburg, Sebastian Knight left Russia after the revolution, attended Cambridge (like Nabokov himself), and settled in London. He died young, and was immediately served with a backbiting biographical study authored by his former assistant, Goodman. Now his half-brother, known to the reader as V., sets out to write a better book, but in doing so he also records his own search, circling around the lacunae in Knight’s life.
It’s great that ND has reissued both of these titles. And a overview like this makes me want to put aside some of the other books I’m reading . . .
As presaged by its title, contradiction is the theme of Peter Stamm’s novel, All Days Are Night. Gillian, a well-known television personality, remains unknowable to herself. And Hubert, a frustrated artist and Gillian’s lover, creates art through the process of. . .
It’s a rare and wonderful book that begins and ends with violence and humor. At the start of Etgar Keret’s The Seven Good Years, Keret is in a hospital waiting for the birth of his first child while nurses, in. . .
Last year, Han Kang’s The Vegetarian was an unexpected critical hit. Now, it’s just been published in the U.S. and has already received a great deal of positive critical attention. The Vegetarian was a bold book to attempt as an. . .
It’s been almost a year since the publication of Nowhere to Be Found by Bae Suah, but despite being included on the 2015 PEN Translation award longlist, and some pretty vocal support from key indie presses, the book has. . .
Jorge Eduardo Benavides’ novel La paz de los vencidos (The Peace of the Defeated) takes the form of a diary written by a nameless Peruvian thirty-something intellectual slumming it in Santa Cruz de Tenerife in Spain’s Canary Islands. Recently relocated. . .
Anyone with any interest at all in contemporary Moroccan writing must start with Souffles. A cultural and political journal, Souffles (the French word for “breaths”) was founded in 1966 by Abdellatif Laâbi and Mostafa Nissabouri. Run by a group of. . .
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. . .