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.
The biggest issues with books like The Subsidiary often have to do with their underpinnings—when we learn that Georges Perec wrote La Disparition without once using the letter E, we are impressed. Imagine such a task! It takes a high. . .
Following The Infatuations, Javier Marías’s latest novel seems, like those that have preceded it, an experiment to test fiction’s capacity to mesmerize with sombre-sexy atmospheres and ruminative elongated sentences stretched across windowless walls of paragraphs. Thus Bad Begins offers his. . .
Death by Water, Kenzaburo Oe’s latest novel to be translated into English, practically begs you to read it as autobiography. Like The Changeling, as well as many other works not yet released in English, Death by Water is narrated in. . .
Jocelyne Saucier’s Twenty-One Cardinals is about the type of unique, indestructible, and often tragic loyalty only found in families. For a brief but stunningly mesmerizing 169 pages, Twenty-One Cardinals invited me in to the haunting and intimate world of the. . .
We know so very little; so little that what we think to be knowledge is hardly worth reckoning with at all; instead we ought to settle for being pleasantly surprised if, on the edge of things, against all expectations, our. . .
Many of Virginie Despentes’s books revolve around the same central idea: “To be born a woman [is] the worst fate in practically every society.” But this message is nearly always packaged in easy-to-read books that fill you with the pleasure. . .
Ilja Leonard Pfeijffer’s La Superba is appropriately titled after the Italian city of Genoa, where, after escaping the pressures of fame in his own country, the semi-autobiographical narrator finds himself cataloguing the experiences of its mesmerizing inhabitants with the intention. . .