We’re publishing Mathias Énard’s Zone next year, and I couldn’t be more excited. There’s a review of it up now at The Quarterly Conversation, and while it’s not a wholly positive review, the review just makes me happier to be publishing it. Zone is definitely an Open Letter book:
Zone doesn’t seduce so much as it makes its reader uncomfortable and sets her mind to work. In Human Smoke, Nicholson Baker wrote an alternative history of World War II that led the reader to disturbing what-ifs. Énard too writes an alternative history of his zone: through the mind of Francis Servain, he makes us see what we tend to forget and, sometimes, what lies ahead. Zone is history of literature as well as history of the Mediterranean, although there is no lesson or philosophy behind all this. It’s an admission of human failure. In spite of the book’s many weaknesses it is a powerful read, a novel for the ages, because what is inside will probably never be out of date and will always somewhat enlighten the reader’s view of the times she lives in. (It remains to be seen whether it will work on an American reader, one likely much less familiar with most of what happens in the Mediterranean zone.) Francis is sure his journey is toward the end of the world, and Zone is an end of the world novel that knows precisely that this is actually not the end of the world. This might very well be the crudest joke, the most gruesome story narrated here by Mathias Énard: it is not over.
The last five days of the eleventh-century Icelandic politician, writer of sagas, and famous murder victim Snorri Sturleleson (the Norwegian spelling, Snorre, is preserved in the book) make up Thorvald Steen’s most recently translated historical fiction, The Little Horse. Murdered. . .
We all know Paris, or at least we think we know it. The Eiffel Tower. The Latin Quarter. The Champs-Élysées. The touristy stuff. In Dominique Fabre’s novel, Guys Like Me, we’re shown a different side of Paris: a gray, decaying. . .
One hundred pages into Birth of a Bridge, the prize-winning novel from French writer Maylis de Kerangal, the narrator describes how starting in November, birds come to nest in the wetlands of the fictional city of Coca, California, for three. . .
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. . .
Fantomas Versus the Multinational Vampires: An Attainable Utopia (narrated by Julio Cortázar) is, not disappointingly, as wild a book as its title suggests. It is a half-novella half-graphic novel story about . . . what, exactly? A European tribunal, Latin. . .
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?),. . .