10 July 09 | Chad W. Post

I’m planning on writing a post next week with the current list of books that have been nominated for the 2010 Best Translated Book Award longlist. (It’s an era of transparency, no? And besides, wouldn’t you like a bit of time to be able to read some of these titles before the longlist announcement?) I don’t think I’m giving too much away by admitting that Christensen’s Azorno is on that list.

Timothy Nassau’s review (Tim’s been doing a fantastic job interning here over the summer), pretty clearly demonstrates why at least one of our judges really likes this book:

Inger Christensen, who passed away in January of this year, is best known in America as an experimental poet, if she is known at all. Now the second of her three novels (also the second to appear in English; Harvill Press published her 1976 book The Painted Room in 2000) is finally appearing in America over forty years after it was written.

On page one of Azorno, the narrator says, “I’ve learned that I’m the woman he first meets on page eight.” Perhaps you have more patience than I, but if not, flip to page eight and be prepared for disappointment: there is no “he,” though there are two women. Unfortunately, we met them a few pages back. Perhaps, then, an error in the translation, a slight shift in font size that cooked the numbers? Perhaps… but there is no such meeting on page seven or page nine, and none to be found on six or ten for that matter. Yet lovers of metafiction need not despair, for Inger Christensen is merely setting the stage for her endlessly puzzling and dazzling novel, a contradictory work that may or may not be self-referential, but is never content with the confines of reality.

Five women—who sometimes appear as friends, sometimes as complete strangers—are, or have been, involved with the writer Sampel. It is Sampel’s most recent book’s eighth page that is referenced on the first page of this one, and the “he” who meets the woman is Azorno, the main character for both Sampel and Christensen. The novel (which is only about 100 pages, and really should be read in one sitting) does not have a central plot, but is broken up into different sections, each with a different narrator. In the first twenty pages or so, the women write a series of letters in which they argue over who the woman in Sampel’s book is supposed to be. A later section is presented as part of a novel by one of the women, Louise, but then another, Katarina, claims to be the author and admits she used her friend’s name as a pseudonym. In a third section, however, Randi also claims that she is the one writing the book. Later it will be Bet Sampel, who is Sampel’s wife, and finally by the end Sampel gets a chance to speak, but then he claims to be Azorno. If this is not confusing enough, the same details reappear again and again in different narratives and completely different contexts: a dog named Goethe, a drawing on the wall near a cigarette stain; even whole chunks of text are copied verbatim from one page onto another.

Click here for the full review.


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