Well, 2009 wasn’t nearly the “Year of Bolaño” that 2008 was . . . Last year’s Best Translated Book Award fiction longlist included both 2666 and Nazi Literature in the Americas, which sparked various debates about whether Bolaño was overrated, whether his shorter prose was better than his overly ambitious, epically long novels, whether or not he actually needed the attention the award might bring, etc., etc.
In the end, 2666 was one of the three real finalists for the award (along with Senselessness and eventual winner Tranquility) and I think I spent more time explaining why it didn’t win than focusing on the awesomeness of Attila Bartis’s dark, creepy novel.
With three Bolaño books coming out in 2010, who knows what next year’s award might look like, but for now, we only have one Bolaño book to talk about: The Skating Rink. (Although I am going to make this a “Day of Bolaño” by also posting the review of Monsieur Pain that just arrived . . . ) The Skating Rink is an early novel of Bolaño’s, and one that put him on the literary map in part for his use of three narrators to tell the story and the unique way he constructs a detective novel that contains no actual detective . . .
In brief, this is a novel of three men living in the town of Z whose lives are intertwined: Remo Moran, a successful businessman; Gaspar Heredia, a former poet who works at Moran’s campground; and Enric Rosquelles, an overweight psychologist working in the town’s Social Services Department. And of course there are also a couple women: Caridad, a somewhat crazy woman that Gaspar falls in love with; and Nuria Marti, the gorgeous figure skater who’s involved with both Remo and Enric.
There’s also a murder. And some shady political dealings. A skating rink. And a twisted love story.
But similar to Noa Weber, what’s most amazing about this novel are the voices. Each chapter is narrated by one of the three male protagonists, and these monologues read almost like confessions, or responses to some line of questioning—yet as pointed out above, there is no detective in the pages of this mystery. Nevertheless, right from the start, the reader knows something has gone down and that Enric Rosquelles is the main suspect:
Until a few years ago I was a typical mild-mannered guy; ask my family, my friends, my junior colleagues, anyone who came into contact with me. They’ll all tell you I’m the last person you’d expect to be involved in a crime. My life is orderly and even rather austere. I don’t smoke or drink much; I hardly go out at night. I’m known as a hard worker: if I have to, I can work a sixteen-hour day without flagging. I was awarded my psychology degree at the age of twenty-two, and it would be false modesty not to mention that I was one of the top students in my class. At the moment I’m studying law; in fact, I should have finished the degree already, but I decided to take things easy. I’m in no hurry. To tell you the truth I often think it was a mistake to enroll in law school. Why am I putting myself through this? It’s more and more of a drag as the years go by. Which doesn’t mean I’m going to give up. I never give up. Sometimes I’m slow and sometimes I’m quick—part tortoise, part Achilles—but I never give up. It has to be admitted, however, that it’s not easy to work and study at the same time, and as I was saying, my job is generally intense and demanding. Of course it’s my own fault. I’m the one who set the pace. Which makes me wonder, if you’ll allow me a digression, why I took on so much in the first place. I don’t know. Sometimes things get away from me. Sometimes I think my behavior was inexcusable. But then, other times, I think: I was walking around in a daze, mostly. Lying awake all night, as I have done recently, hasn’t helped me find any answers. Nor have the abuse and insults to which I have, apparently, been subjected.
Granted, The Skating Rink has nowhere near the scope and ambition of 2666 or The Savage Detectives. It’s not game-changing in terms of the possibilities of literature. It’s not even Bolaño’s best short work. Still, it’s a captivating early novel, one that sets forth some typical Bolaño themes in a fun, genre-tweaking way that highlights his novelistic skills. Definitely worth reading, and who knows, maybe the tightness of this book will impress the fiction judges more than the explosive looseness of 2666 . . .
There’s little to say about a series of prose poems that willfully refuse to identify pronoun antecedents. Or perhaps there are a million things. The poems in _Morse, My Deaf Friend_— the chapbook by Miloš Djurdjević published by Ugly Duckling. . .
The Crimson Thread of Abandon is the first collection of short fiction available in English by the prolific Japanese writer and all-around avant-garde trickster Terayama Shūji, who died in 1983 at the age of 47. This collection would be important. . .
Last year, NYRB Classics introduced English-language readers to Catalan writer Josep Pla with Peter Bush’s translation of The Gray Notebook. In that book, Pla wrote about life in Spain during an influenza outbreak soon after World War I, when. . .
“Your bile is stagnant, you see sorrow in everything, you are drenched in melancholy,” my friend the doctor said.
bq. “Isn’t melancholy something from previous centuries? Isn’t some vaccine against it yet, hasn’t medicine taken care of it yet?” I. . .
What to make of Vano and Niko, the English translation of Erlom Akhvlediani’s work of the same name, as well as the two other short books that comprise a sort of trilogy? Quick searches will inform the curious reader that. . .
The opening of Jón Gnarr’s novel/memoir The Indian is a playful bit of extravagant ego, telling the traditional story of creation, where the “Let there be light!” moment is also the moment of his birth on January 2nd, 1967. Then. . .
Mahasweta Devi is not only one of the most prolific Bengali authors, but she’s also an important activist. In fact, for Devi, the two seem to go together. As you can probably tell from the titles, she writes about women. . .
The prolific Spanish author Benito Pérez Galdós wrote his short novel, Tristana, during the closing years of the nineteenth century, a time when very few options were available to women of limited financial means who did not want a husband.. . .
Pedro Zarraluki’s The History of Silence (trans. Nick Caistor and Lorenza García) begins with the narrator and his wife, Irene, setting out to write a book about silence, itself called The History of Silence: “This is the story of how. . .
There are plenty of reasons you can fail to find the rhythm of a book. Sometimes it’s a matter of discarding initial assumptions or impressions, sometimes of resetting oneself. Zigmunds Skujiņš’s Flesh-Coloured Dominoes was a defining experience in the necessity. . .