The latest addition to our review section is a piece on Jacques Chessex’s The Vampire of Ropraz, a curious little book from one of Switzerland’s most revered authors.
Here’s the opening of the review:
If it weren’t for Michael Orthofer of Complete Review, I don’t think I would’ve ever picked up this slender book. I don’t mind my vampires on TV (True Blood is a pretty decent show), but I tend to avoid them in literature. (No, I haven’t read Twilight and probably never will.)
But this isn’t a vampire book. Sure, it’s got the spooky cover and the sadistic crimes, but this novel isn’t about anyone sucking anyone’s blood. It’s about society and fear, and finding a way to explain and cope with things that are beyond normal comprehension.
The novel is set in Ropraz—“a land of wolves and neglect in the early twentieth century, poorly served by public transport”—where a young girl is dug up from her grave and mutilated. Newspapers seize on the sensational story, labeling the criminal who did this as the “Vampire of Ropraz,” and setting off a series of “sightings” and a hell of a lot of fear:
And click here for the full write up.
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?),. . .
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. . .