You are not ashamed of what you do, but of what they see you do. Without realizing it, life can be an accumulation of secrets that permeates every last minute of our routine . . .
The narrative history of José Ovejero’s Nothing Ever Happens lies in its five protagonists (the chapters are titled with the names of the characters; almost everyone gets two chapters to his or her name). Carmela, an excessively independent woman, and her husband Nico, a too gentle man respectively, lead a quiet and comfortable life of middle-class marriage, full of almost imperceptible silences. But the secret of Olivia, their Ecuadorian immigrant housekeeper, could bring down the appearance of normality. Especially with the potential involvement of Claudio, a gifted boy of convoluted ideas who has fun in revealing what is hidden.
As we enter into Nothing Ever Happens, we will find the secrets, sins, and fears of the young couple and Olivia, as well as the activities of Claudio, who, while denouncing the hypocritical vision of an established society order, is not a model of behavior. And Julián, the gardener, who tries to profit from Olivia through the debt she has contracted with him for his help.
Nothing Ever Happens is a humorous book at times, and at times tragic. In it, José Ovejero unfolds his narrative arts (along with the masks of his characters), playing with the idea of “Nothing ever happens around here . . . Or does it?” to dismantle the mechanisms of our good conscience, and to show the underlying conflicts and tensions in a world where appearances rule over reality.
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. . .