I’m about to give away the game in relation to this novel . . . So if you’re an anti-spoiler sort of person, I recommend skipping this post and simply buying the book and enjoying all the literary games packed within.
Trying to summarize this book is a bit tricky. It’s like a mafia thriller filtered through Nabokov. It’s a dense book with a narrator who is both unreliable and maybe a bit confused, and who is obsessed with Proust. It was also the subject of an incredible conversation Erica Mena and I had with Esther Allen for a forthcoming Reading the World podcast. (That’s a subtle enough plug, right?)
Anyway, the basic set-up of this book is that the narrator has been hired by a Russian couple living in Marabella, Spain to tutor their son. The narrator decides that all the kid needs to do is read Proust’s À la recherche du temps perdu, which is the book that contains everything from psychology to quantum physics. The world is in there.
It startled, even frightening him when I spoke that way about the Book, this being without fixed age—at first I’d thought that was me, that the Writer might be referring to me, but on an instant’s further reflection I realized the phrase applied rather to the man who had greeted me, Batyk. A man bearing a perfect resemblance to a peon, someone fetched from the depths of the darkest, sootiest oil painting.
I am concerned, he announced, with the infinite cunning and unction of Norpois (in the Writer); I am concerned, I fear that your manner of teaching, an education such as the one you propose, based on a single book, may not be the correct or appropriate one. So distorted an education, its vortex resting upon a single book, cannot, by all rights, amount to much. Didn’t you list the classes you were to give him on my behalf? Spanish, mathematics, geography in Spanish? Hadn’t you also mentioned physics? Didn’t you assure me you were well grounded in physics, extremely (sarcastic here) well grounded in physics, didn’t you agree to cover the entire sixth-grade curriculum and the seventh, as well?
And yet all I did in the first class was talk about the Book, and in the second I talked only about the Book, and in the third read aloud selected passages from the Book. That drew him closer.
Rex is constructed out of a series of “Commentaries” from the narrator to the young boy. Most of these sections focus on telling the story of the boy’s parents and of the narrator’s attempt to figure out what the hell is really going on. (More on that in a second.) Littered throughout these commentaries are references to other books—sometimes Proust, sometimes others. Sometimes these phrases are bolded, sometimes they’re not. In translating the book, Esther Allen created a list of references that she worked from, and Jose Manuel Prieto did the same, resulting in an invaluable “author’s note” at the end that provides an amazing set of references.
It’s through this intricate set of references that the reader has to figure out what’s “going on” with the family that has employed our narrator. Initially he thinks they’re one of the wealthiest families he’s ever met. Although how they got their money is a bit suspicious and unnerving . . . Because they are Russian and living in a mob-heavy community—and because of the enormous diamonds that are just around—he’s initially convinced that he’s working for a couple major players in the mafia . . . But that’s not actually right. It’s actually a bit more complicated and involves fake diamonds (like in Proust’s The Lemoine Affair, which may be more of an ur-text for the novel than In Search of Lost Time), a dangerous scam, and some members of the mob that have recently been released from prison . . .
Rex is one of those novels that benefits from multiple readings. And it really doesn’t matter if you know the “plot” or not. The joy is in all the literary games . . .
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. . .