Info about the first three books from the spring 2009 Open Letter list can be found here. Today we’re covering our June title, Rupert: A Confession by Ilja Leonard Pfeijffer.
The premise of this book is that Rupert has been accused of a terrible crime (which isn’t revealed in full until the very end) and has to defend himself. His defense—or imagined defense—is a very lively, hilarious affair, that relies more on rhetorical tricks than facts to get him off the hook.
As a novel, Rupert is more emotionally complicated than it first appears. As you can see in the attached excerpt, Rupert has a very vibrant voice—one that draws the reader in almost immediately. Along the way though, it becomes crystal clear that Rupert is way unhinged and probably quite dangerous. Reconciling these two points of view is tricky, especially since the book is very compelling, and as the final “reveal” of the crime itself and Rupert’s relation to it starts to come clear, it’s like watching a train wreck . . .
Ilja Leonard Pfeijffer seems like quite a character. And one of the reasons I wanted to write this today is because he’s now mired in yet another controversy.
According to the translator of this novel—Michele Hutchison, who, in addition to translating, works for the Dutch publisher De Arbeiderspers—told me that for the back cover of his Collected Poems, Ilja wanted to include a naked photo of himself. That’s all fine and good, but Ilja was on the longlist to be next year’s Poet Laureate . . . up until news of this naked photo broke. He was recently kicked out of the competition and the infamous photo has created quite a bit of media buzz.
And here I thought the Netherlands were supposed to be so liberal and open-minded . . .
“I preferred the war to the plague,” writes Curzio Malaparte in his 1949 novel, The Skin. He speaks of World War II and the destruction it has wrought on Italy, the city of Naples in particular. But the plague he. . .
With the steady rise of feminist scholarship and criticism in recent decades, it is little wonder that the work of Louise Labé should be attracting, as Richard Sieburth tells us in the Afterword to his translation, a “wide and thriving”. . .
In Conversations, we find ourselves again in the protagonist’s conscious and subconscious, which is mostly likely that of Mr. César Aira and consistent with prototypical Aira style. This style never fails because each time Aira is able to develop a. . .
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. . .
Literature in translation often comes with a certain pedigree. In this little corner of the world, with so few books making it into this comforting nook, it is often those of the highest quality that cross through, and attention is. . .
Alessandro Baricco’s Mr. Gwyn is a set of two loosely interlinked novellas that play with narrative and the construction of character. Ably translated by Ann Goldstein, Mr. Gwyn plays some subtle metafictional games as Baricco delves into what it means. . .
I must admit upfront that I went into reading Saadat Hasan Manto’s Bombay Stories almost entirely blind. I have not read Salman Rushdie. I have read, perhaps, two short stories by Jhumpa Lahiri. I might shamefully add that I really. . .
Throughout his work The Gray Notebook, Josep Pla mentions many different authors, some of whom have inspired him to pick up a pen. One of them is Marcel Proust. Even though Pla normally prefers nonfiction, he lauds the French novelist. . .
On that September 11th I had a conversation with a professor friend who was teaching a creative writing class that evening. He questioned, “What can I possibly teach when all of this has happened?” While the dismay and grief were. . .
In a story of two emotionally distant people, Japanese author Takashi Hiraide expertly evokes powerful feelings of love, loss, and friendship in his novel The Guest Cat. The life of the unnamed narrator and his wife, both writers, is calm. . .