Costa Rica. Colombia. Ecuador. Greece. These teams have amazed us in this year’s World Cup for having made it as far as they have. They’re teams that have played consistently well over the years but have never quite achieved the rock star status of a Brazil, Italy, or France. They have their moments of greatness—see Costa Rica’s incredible 1-0 win against four-time world champion Italy—but overall, they have little hope of getting beyond the qualifying rounds due to their relatively lackluster performance and generally unchanged style of play over the years.
Segue to our World Cup of Literature, Round Two:
Representing team Ivory Coast, we have the relentless Allah Is Not Obliged by Ahmadou Kourouma. Team Ivory Coast’s opponent for this match comes in the form of The Rest Is Jungle & Other Stories by Mario Benedetti representing team Uruguay. The two teams make a rather odd match for one another: the one, an unapologetically graphic, realist novel told from the perspective of a child soldier in Liberia and the other, a collection of short stories spanning more than fifty years in the prolific writing career of one of Latin America’s most esteemed writers.
Allah comes out with guns blazing (literally), expletives flying, glossary definitions interjecting irritatingly in passages on nearly every other page. What at first seems like a clever tactic for representing the voice of the novel’s 10-year-old under-educated hero, quickly becomes uninteresting gimmick and it’s clear early on in this match that Ivory Coast will not be able to keep this up. Sure enough, by the 23’ the referee finally pulls a red card on team Ivory Coast—the crowd groans in exacerbated agreement. This is sheer stereotype reinforcement, pure and simple—cheap tricks and laziness on the part of the author, who neglected to craft a single compelling or nuanced character.
Team Uruguay knows a little something about nuance. In the prologue to his 1979 play, Pedro and the Captain, Benedetti writes:
The work isn’t a confrontation between a monster and a saint, but rather one between two men, two flesh and blood beings who both have their points of vulnerability and resistance. For the most part the distance between the two of them is ideological, and this perhaps holds the key to their other differences—the moral, the spiritual, the sensitivity to human pain, the complex terrain that lies between courage and cowardice, the lesser or greater capacity for sacrifice, the gap between betrayal and loyalty.
Indeed, team Jungle does a much better job navigating this complex terrain of human characterization by juggling various narrative voices and tones but still, many of these stories leave barely a blip on the radar (unfortunately in this case, it seems, in large part due to mediocre translation). In spite of some lovely poetic moments that linger in the imagination as well as the more haunting moods pervading some of these stories, there’s no Maradona ’86 goal against England. Nothing particularly breathtaking. Which is why we watch this stuff in the first place, right? And so with that, once team Uruguay scored a goal in the 62’ with the short story “The Iriarte Family,” I shut the TV off and went to sleep.
Uruguay 1 – Ivory Coast 0
Elianna Kan edits literature in translation for The American Reader and translates from Spanish. She’s also a shameless Argentina fan.
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. . .
Fiston Mwanza Mujila is an award-winning author, born in the Democratic Republic of Congo, who now, at 33, lives in Austria. From what I could find, much of his work is influenced by the Congo’s battle for independence and its. . .
Twenty-One Days of a Neurasthenic is not a novel in the traditional sense. Rather, it is a collection of vignettes recorded by journalist Georges Vasseur in his diary during a month spent in the Pyrenées Mountains to treat his nervous. . .
Founded in 1960 by such creative pioneers as George Perec, Raymond Queneau and Italo Calvino, the Oulipo, shorthand for Ouvroir de littérature potentielle, came about in when a group of writers and mathematicians sought constraints to find new structures and. . .
There’s little to say about a series of prose poems that willfully refuse to identify pronoun antecedents. Or perhaps there are a million things. The poems in Morse, My Deaf Friend— the chapbook by Miloš Djurdjević published by Ugly Duckling. . .
The Crimson Thread of Abandon is the first collection of short fiction available in English by the prolific Japanese writer and all-around avant-garde trickster Terayama Shūji, who died in 1983 at the age of 47. This collection would be important. . .