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.
Prose translators will likely disagree, but I believe translating poetry requires a significant level of talent, a commitment to the text, and near mania, all of which suggests that the undertaking is the greatest possible challenge. The task is to. . .
The biggest issues with books like The Subsidiary often have to do with their underpinnings—when we learn that Georges Perec wrote La Disparition without once using the letter E, we are impressed. Imagine such a task! It takes a high. . .
Following The Infatuations, Javier Marías’s latest novel seems, like those that have preceded it, an experiment to test fiction’s capacity to mesmerize with sombre-sexy atmospheres and ruminative elongated sentences stretched across windowless walls of paragraphs. Thus Bad Begins offers his. . .
Death by Water, Kenzaburo Oe’s latest novel to be translated into English, practically begs you to read it as autobiography. Like The Changeling, as well as many other works not yet released in English, Death by Water is narrated in. . .
Jocelyne Saucier’s Twenty-One Cardinals is about the type of unique, indestructible, and often tragic loyalty only found in families. For a brief but stunningly mesmerizing 169 pages, Twenty-One Cardinals invited me in to the haunting and intimate world of the. . .
We know so very little; so little that what we think to be knowledge is hardly worth reckoning with at all; instead we ought to settle for being pleasantly surprised if, on the edge of things, against all expectations, our. . .
Many of Virginie Despentes’s books revolve around the same central idea: “To be born a woman [is] the worst fate in practically every society.” But this message is nearly always packaged in easy-to-read books that fill you with the pleasure. . .
Ilja Leonard Pfeijffer’s La Superba is appropriately titled after the Italian city of Genoa, where, after escaping the pressures of fame in his own country, the semi-autobiographical narrator finds himself cataloguing the experiences of its mesmerizing inhabitants with the intention. . .
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. . .