Rubem Fonseca’s The Taker and Other Stories continues to get some really good coverage, including two recent reviews at The Front Table and The National.
The Front Table is Seminary Co-op’s online newsletter/review magazine. It’s been around in one form or another for almost two decades, and the current variation is really impressive, with great reviews of interesting books and a Editors Speak section that’s really interesting. Oh, and a great review by Stan Izen of The Taker:
I am a good Hyde Park liberal: I argue vigorously on the side of equality for all and I donate monthly to Doctors Without Borders. Still, I really have no idea of the depth of despair suffered by the abandoned lonely, the poorly cared for elderly, and those bereft of hope and opportunity. Reading Rubem Fonseca’s new collection, The Taker and Other Stories, is a short walk through these foreign neighborhoods. Fonseca’s writing is rough; many of his characters are angry and disaffected, and they assuage their rage, not by brooding in their rooms and writing poetry, but by brutally murdering those they see as having everything they don’t. The reading is often upsetting but it is also revelatory, and that is the thrill of reading these stories. [. . .]
I used to read to find myself, now I read to get out of myself. Fonseca’s shocking, funny, thoughtful, fanciful stories electrify the emotions and disturb the reader. Kafka is correct, as usual, when he says: A book must be an ice-axe to break the seas frozen inside our soul. Fonseca’s writing does exactly that, in spades.
I want to give it a bit more time before getting too excited, but I have hopes that the Arts Section of Abu Dhabi’s The National could be the new New York Sun. I mean hell, they have Ben Lytal writing for them:
The Brazilian author Rubem Fonseca writes with a violence that his peers – writers of postmodern crime fiction – eschew. Think of Haruki Murakami, who has used noir plot devices to give structure and grit to adolescent dream narratives. Or Michael Chabon, who has reimagined Jewish-American history through the lens of detective fiction. Or Fonseca’s co-linguist, Jose Saramago, who in some of his recent novels has been writing like Paul Auster, making the mystery novel a vehicle for philosophical thought experiments.
None of these other authors goes to crime fiction for blood. Though some maintain an interest in evil, the consistent trend in highbrow crime fiction has been away from the dark alley and into the cerebral stratosphere. Fonseca couldn’t differ more. Vital to his stories is the troubling moment when the slashing crimes of his characters become too palpable and, to the engrossed reader, almost participatory.
It’s a very detailed, very enthusiastic review . . . But beyond the nice attention for one of our books, I’m just thrilled that Ben Lytal is back reviewing!
At 30, the Mexican writer Valeria Luiselli is already gathering her rosebuds. Faces in the Crowd, her poised debut novel, was published by Coffee House Press, along with her Brodsky-infused essay collection, Sidewalks. The essays stand as a theoretical map. . .
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Marie NDiaye has created a tiny, psychological masterpiece with her Self-Portrait in Green. In it she explores how our private fears and insecurities can distort what we believe to be real and can cause us to sabotage our intimate relationships.. . .
Reading a genre book—whether fantasy, science fiction, crime, thriller, etc.—which begins to seem excessively, stereotypically bad, I have to make sure to ask myself: is this parodying the flaws of the genre? Usually, this questioning takes its time coming. In. . .
The Sicilian Mafia has always been a rich subject for sensational crime fiction. The Godfather, Goodfellas, and The Sopranos worked the mob’s bloody corpses and family feuds to both entertainment and artistic value. Giuseppe di Piazza’s debut novel attempts this,. . .
Antoine Volodine’s vast project (40 plus novels) of what he calls the post-exotic remains mostly untranslated, so for many of us, understanding it remains touched with mystery, whispers from those “who know,” and guesswork. That’s not to say that, were. . .
It hasn’t quite neared the pitch of the waiting-in-line-at-midnight Harry Potter days, but in small bookstores and reading circles of New York City, an aura has attended the novelist Elena Ferrante and her works. One part curiosity (Who is she?),. . .
From the late 1940s to the early 1950s, Egypt was going through a period of transition. The country’s people were growing unhappy with the corruption of power in the government, which had been under British rule for decades. The Egyptians’. . .
Miruna is a novella written in the voice of an adult who remembers the summer he (then, seven) and his sister, Miruna (then, six) spent in the Evil Vale with their grandfather (sometimes referred to as “Grandfather,” other times as. . .
Kamal Jann by the Lebanese born author Dominique Eddé is a tale of familial and political intrigue, a murky stew of byzantine alliances, betrayals, and hostilities. It is a well-told story of revenge and, what’s more, a serious novel that. . .