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the book’s many weaknesses it is a powerful read, a novel for the ages, because what is inside will probably never be out of date and will always somewhat enlighten the reader’s view of the times she lives in.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.
It took reading 44 pages of Intervenir/Intervene before I began to get a sense of what Dolores Dorantes and Rodrigo Flores Sánchez were up to. Recurring throughout these 44 pages—throughout the entire book—are shovels, shovel smacks to the face, lobelias—aha!. . .
As presaged by its title, contradiction is the theme of Peter Stamm’s novel, All Days Are Night. Gillian, a well-known television personality, remains unknowable to herself. And Hubert, a frustrated artist and Gillian’s lover, creates art through the process of. . .
It’s a rare and wonderful book that begins and ends with violence and humor. At the start of Etgar Keret’s The Seven Good Years, Keret is in a hospital waiting for the birth of his first child while nurses, in. . .
Last year, Han Kang’s The Vegetarian was an unexpected critical hit. Now, it’s just been published in the U.S. and has already received a great deal of positive critical attention. The Vegetarian was a bold book to attempt as an. . .
It’s been almost a year since the publication of Nowhere to Be Found by Bae Suah, but despite being included on the 2015 PEN Translation award longlist, and some pretty vocal support from key indie presses, the book has. . .
Jorge Eduardo Benavides’ novel La paz de los vencidos (The Peace of the Defeated) takes the form of a diary written by a nameless Peruvian thirty-something intellectual slumming it in Santa Cruz de Tenerife in Spain’s Canary Islands. Recently relocated. . .
Anyone with any interest at all in contemporary Moroccan writing must start with Souffles. A cultural and political journal, Souffles (the French word for “breaths”) was founded in 1966 by Abdellatif Laâbi and Mostafa Nissabouri. Run by a group of. . .
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. . .