The new issue of Quarterly Conversation is now online, and, as can be expected, filled with great stuff.
One of the lead pieces is Scott Esposito’s article about the similarities in the writings of Adolfo Bioy Casares and Franz Kafka:
In his Prologue [to The Invention of Morel, Borges calls on writers of the 20th century to prove that “if [the literature of] this century has any ascendancy over the preceding ones it lies in the quality of its plots.” Kafka and Bioy are two writers who responded to, and perhaps proved, Borges’s declaration. For all the differences in their lives, contexts, and ways of meeting Borges’s challenge, their fictions exhibit remarkable convergences. So clear are the similarities that one might follow William H. Gass, who once declared “that Schopenhauer has read Borges and reflects him, just as Borges reflects both Bioy and Borges.” If Schopenhauer can read Borges, then Kafka has clearly read Bioy, and the two reflect each other like two mirrors, except what’s multiplied in their midst isn’t a person but a world: our very own, skewed as images caught between mirrors tend to be, but seemingly contained in both at once and, as the reproductions trail off to infinity, slightly but clearly bending in the same direction.
There are also a number of reviews of interesting titles, including pieces on All One Horse by Breyten Breytenbach, on Boxwood by Camilo Jose Cela, and The Post-Office Girl by Stefan Zweig, which has a great opening paragraph:
Reading The Post-Office Girl is like trying to hit a slow-breaking curveball. You know the break is coming—you can intuit that the seemingly conventional story is going to drop on you in some way—but it hangs high for so long that by the time it does break, you’ve already swung blindly, thinking you knew how to read the book.
There are also reviews of Senselessness by Horacio Castellanos Moya—one of my favorite books of 2008, which Scott Bryan Wilson also praises:
ike a lot of the great Central American novelists, Moya started out with aspirations of becoming a poet, and though Senselessness is full of really miserable, gruesome stuff, it’s exactly the ugliness, as well as Moya’s sense of language, compassion, and his healthy dose of pessimism), that make Senselessness a phenomenal read and an incredibly important work.
And finally, there’s an interesting review of Basrayatha: Portrait of a City by Muhammad Khudayyir:
Muhammad Khudayyir’s Basrayatha has no need for maps. Although the book is tagged as a travel memoir, it has little to offer the would-be (if-it-were-possible) tourist to Iraq. The narrative doesn’t pause to orient the reader—to remove our blindfolds and point us in a particular direction—and most of its landmarks are erased and rebuilt, renamed, and then erased and rebuilt again. The book’s only visual guides are not maps but slightly blurred, century-old photographs. These uncaptioned photos, like the images of a W. G. Sebald novel, obscure as much as they illuminate.
But just as Khudayyir does not present us with the pseudo-clarity of a CNN report, neither does he bring us a fuzzy, pre-invasion paradise. Basrayatha is nearer kin to Calvino’s Invisible Cities and Sebald’s Rings of Saturn. Khudayyir takes us into a story-reflecting-a-city, a series of memories and mirrors that point us toward what the book’s narrator calls “actual, defective reality.” This is not because Khudayyir has fled the land of his birth and must construct things, board by board, from faded recollections. He names himself a permanent citizen of Basra, and says that he has rarely left the city in forty-some years, his age when the book was published in Arabic in 1996.
Overall, a great issue.
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. . .